The Animal People Choose a Leader

Written by Richard Wagamese

Illustrated by Bridget George

D & M Kids (Douglas and McIntyre)

978-1-77162-418-3

32 pp.

All ages

October 2024

 

The Animal People Choose a Leader, a picture book based on a short story, is something special. It's obvious from a first glance at the cover. First, there's the author, the late Richard Wagamese, one of Canada's greatest treasures to literature and an Ojibway writer from the Wabaseemong First Nation. Best known for his novels, stories and memoirs, Richard Wagamese had never published a picture book. Illustrated by Bridget George, an Anishinaabe author and illustrator from Kettle and Stony Point First Nation, The Animal People Choose a Leader offers a story, a lesson or five, and beauty.

From The Animal People Choose a Leader, written by Richard Wagamese, illus. by Bridget George

Long ago when only the Animal People inhabited the earth, they decided they needed to choose a leader. And though they spoke of the many attributes needed, from strength and wisdom, to pride and power, they could not decide how to choose until squirrel Ajidimo suggests a race. Horse, Buffalo, Cougar, and Wolverine are all in, convinced that their strengths, whether it be speed or stamina or stealth or something else, would help them win. 

 

It is decided that they would race four times around the lake with Eagle watching from above to count laps. Then Waabooz, the rabbit, decides to race too though everyone suspects that her small size would not help her succeed.  Horse, Buffalo, Wolverine, and Cougar take off, but Waabooz waits and then slowly hops away.

From The Animal People Choose a Leader, written by Richard Wagamese, illus. by Bridget George

As the four primary contenders race to complete their laps, Waabooz takes her time, determined to enjoy the challenge by taking in the land's beauty and considering her paths by smell and observation. Even when the others complete their first laps, Waabooz is far behind, refusing to stop even when Eagle suggests she can't possibly win. Her response?

"It is not honouring the challenge to stop now," she said. "It is a noble pursuit and it asks everything I have."

From The Animal People Choose a Leader, written by Richard Wagamese, illus. by Bridget George

But as Wolverine, Horse, Buffalo, and Cougar go to complete their last lap, Waabooz discovers each unable to continue because of an obstacle or exhaustion or some challenge from which they cannot extract themselves. It is only with the wisdom of Waabooz and her guidance in getting them to work together that the five contenders for leader are able to complete the race together.

 

The Animal People Choose a Leader may share similarities with many other cultural stories in which a race to choose a winner does not turn out as expected but this story goes beyond one of humility and ingenuity. Waabooz is the unlikely winner, and this is obvious to all. But Waabooz has not accepted the challenge to win it. She has taken it on as a worthwhile endeavour, claiming that "It can never be a struggle to engage in a noble cause." Even when the animals complete the race and Waabooz is chosen as leader, her response is not expected. Her intent was to learn which she did. But she shared her wisdom with others so that they might understand what a struggle truly is and how to get out of one's own way. Most of all they learned that when they help each other, they all succeed.

Richard Wagamese's lessons in mindfulness and appreciation of the natural world–"You discover much when you learn to look at things"–extends to those of compassion and empathy, seeing how we can create barriers to our own progress, whether through rushing in or not trusting others or refusing to see something from a different perspective. Wise Waabooz, through Richard Wagamese's insight, firmly embedded in Indigenous voice and culture, gives the reader, young and old, understanding that could help us lead and follow.

Bridget George's Woodland style of art, rich in earthy tones and organic lines of movement, boosts Richard Wagamese's text to story book so simply and yet profoundly, matching the importance of the story with solemn graphic representation. The consequence of his words are reflected in the depth of Bridget George's illustrations, taking it from children's picture book to a tale that can be shared with all.

 

This would be a lovely book to gift anyone at the holidays. From the story within, the Woodland style art, and even the luxurious textured cover, The Animal People Choose a Leader would be a welcome addition to any school or library, public or personal, and one that could be treasured by all. With its timeless lessons and opportunity to appreciate Richard Wagamese's words once more, The Animal People Choose a Leader is an uncontested winner.

The Inside Scouts Help the Kind Lion (The Inside Scouts #1)

Written by Mitali Banerjee Ruths

Illustrated by Francesca Mahaney

Acorn (Scholastic)

978-1-338-89498-1

64 pp.

Ages 4–7

RL 1.0

February 2024 

 

Sanjay and Viv are the Inside Scouts, and they have the superpower to shrink super small and go inside animals to make them feel better. In this first book in this illustrated early reader (RL 1.0) series, the kids must help a lion who is not feeling his best.

Inside Scouts!

Always on call!

To fix big things,

we get super small! (p. 20)

 

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

Ruslan  is a lion who wants to run and play with his cubs, but he is feeling far too tired to do so.  Using some very cool tech, the kids show Ruslan a leak in his heart. Gearing up, the two go in through his nose–though they must be careful not to tickle the sensitive lion–and follow a vein to the heart.

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

The Inside Scouts show young readers how the heart is made up of four rooms, with doors called valves that allow movement of the blood. Though the story is appended with "Fun Facts about the Heart" that describes the pumping of the heart and uses terms like circulates, arteries, veins and chambers, the illustrations are done at such large scale that the anatomical features of the heart are not readily discernible so even the squeamishest of children will have no problems with the artwork. But they will have a sweet introduction to how our hearts work and how those with poorly-functioning ones might feel.

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

Not only will the Inside Scouts help young children understand their bodies, but the series will also make them think about illness and how our behaviours may be impacted by health issues. Whether it's a lion that cannot play with his cubs because of a leaky heart, or a giraffe with an upset tummy or a cheetah with a leg cramp (Books 2 and 3 are out later this year), the Inside Scouts teach and encourage empathy for those who may be suffering.

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

The tale of the kindly lion with a big heart, albeit a leaky one, will delight young readers with its mixture of humour–such as the kids getting sneezed out of the lion's nose with slime–learning and story. Mitali Banerjee Ruths, who also writes The Party Diaries series for the Branches early chapter book imprint of Scholastic, has written a text that is perfect for the earliest readers but challenges them with more sophisticated words in the "Fun Facts about the Heart" section. There is also an activity (Draw Your Own "I Am Kind" Badge) and encouragement to write a story about being kind. With artwork by Filipino-American Francesca Mahaney, who has done a fabulous job of illustrating what could have been a perplexing topic for young children, The Inside Scouts Help the Kind Lion becomes an accessible but bold adventure of colour, shape, and story, and one that will be a hit with readers, teachers and parents.

 

• • • • • • •

The Inside Scouts Help the Kind Lion (February 2024)

The Inside Scouts Help the Brave Giraffe (June 2024)

The Inside Scouts Help the Strong Cheetah (October 2024)

Cocoa Magic

Written by Sandra Bradley

Illustrated by Gabrielle Grimard

Pajama Press

978-1-77278-264-6

32 pp.

Ages 4-7

November 2022

There is much kindness in giving gifts in secret, in not expecting thanks or acknowledgement. It's giving for the sake of giving and not for reciprocity or reward. With the holiday season upon us, Sandra Bradley's book of Cocoa Magic, deliciously illustrated by Gabrielle Grimard, reminds us of the goodness of giving.

From Cocoa Magic by Sandra Bradley, illus. by Gabrielle Grimard

Daniel's Great Uncle Lewis is known as the Cocoa King of Charlottetown. From a very young child, Daniel learned the magic that came from a cocoa bean when vanilla, sugar and milk were added. By the time he is eight, he is spending an hour crafting chocolate into treasures at his uncle's shop before he is delivered to school.

From Cocoa Magic by Sandra Bradley, illus. by Gabrielle Grimard

When a new girl, Sarah, arrives at school, looking a little hesitant, Daniel comes up with a plan to make her feel more welcome. The day after her arrival, he slips a gold box with a single chocolate caramel into her desk. Like magic, when she opens the little box, Sarah smiles for the first time. He repeats this for several days, with a luscious vanilla fudge, a coconut cream and a piece of nougat. And each day Sarah seems less scared and more cheerful.

Then Daniel notices Ben watching Sarah enjoy her treat and decides to surprise the boy too with some magic. Was it the chocolate that made Ben a little kinder that day? Everywhere Daniel looks, it seems someone needs to be touched by a little cocoa magic. With a tearful classmate and an injured boy and more, Daniel enlists his uncle's help in delivering little boxes to the whole class.

From Cocoa Magic by Sandra Bradley, illus. by Gabrielle Grimard

Then his uncle goes away to the World's Chocolatiers' Conference in Switzerland and must close the shop for five days. Daniel is devastated. He misses his uncle, working in the shop and he worries that without their secret chocolate gifts, the joy would disappear from his classmates. He's wrong. In fact, his classmates bring the magic to Daniel when he needs it.

What a wonderful story of empathy! Daniel understands Sarah's nervousness at attending a new school, one which he himself finds cold and lonely, and then sees what his other classmates are feeling. He sees their distresses and finds a way, his way, to make them feel better. Sandra Bradley, a clinical social worker and therapist, makes the story of Cocoa Magic one of kindness without expectation of reciprocity. She shows the positive nature of giving both on the recipient and the giver. It is only when children feel safe and secure that they can appreciate the emotional needs of others and Daniel, embraced in the warmth of his uncle and his chocolate shop, has the capacity for that empathy. But by showing empathy for his classmates, Daniel gives them the capacity to feel for others. That is magic in itself.

From endpapers of Cocoa Magic by Sandra Bradley, illus. by Gabrielle Grimard

Gabrielle Grimard's illustrations, created with watercolour, gouache, coloured pencil and digital media, are filled with the sweetness of love, kindness, generosity and confections. (The endpapers are filled with an assortment of confectionary delectables too!) Though Gabrielle Grimard transports readers to the 1920s when boys wore knickerbockers, school desks had lift-tops and inkwell holes, and a special treat didn't need to be expensive or extravagant, she makes Sandra Bradley's story contemporary enough that young readers will see themselves in the diverse students who feel fear, sadness, pain and especially joy. 

There may be magic in the cocoa and the sugar but most of it comes from the empathy demonstrated through the gift giving. Perhaps at this time of year, that's the important message to cherish from Cocoa Magic.

The Brass Charm

Written by Monique Polak

Illustrated by Marie Lafrance

North Winds Press (Scholastic Canada)

978-1-4431-5758-2

32 pp.

Ages 5-9

September 2022

 

Everyone has troubles in their lives sometime. Some are horrific and life-changing, some are temporal but seem overwhelming.  Most of us cannot see past our own issues when we're immersed in them. It's that bubble of now. It is probably especially the case for young children many of whom, thankfully, have not had to endure great hardships. So, when the roof of their home is destroyed in a storm, Tali is devastated.

From The Brass Charm by Monique Polak, illus. by Marie Lafrance

As the family heads to stay with Oma while repairs may be undertaken, Tali's mother reminds her that "People survive worse" and to "Think of Oma." Tali knows her grandmother survived World War II but she never talks about it. Still Tali is "too sad to think of anyone" but herself, even when she meets a little neighbour girl who obviously craves some company. That is, until her Oma shows her a tiny brass charm of a monkey man and shares a memory of her own hardship.

From The Brass Charm by Monique Polak, illus. by Marie Lafrance

Telling her story in the third person, Oma tells of a girl forced to leave home and sent to a prison called Terezin. The people kept there were worked tirelessly and fed very little and on the day of her birthday, the child was overcome with how her life had changed for the worse. A woman, hearing her cry, bestows upon her a small brass charm of a monkey man that a stranger gave her when her own life had seemed stormy. Now Oma remembers that lady whose own life had been difficult and could still find "it in her heart to be kind to a stranger."

 

In a message of paying it forward, Monique Polak has Tali sharing the story of the brass charm with Elodie, the little neighbour girl, bolstering them both through their challenges.

From The Brass Charm by Monique Polak, illus. by Marie Lafrance

In a story within a story, Montreal author Monique Polak is actually telling her mother's own history of surviving Terezin as a child and receiving the charm. Because of Terezin's history and its common role as a transit camp for those moved onto other concentration camps, as Monique Polak's Afterword details, the woman who shared that charm was never seen again. Yet the kindness she extended in such trying circumstances, just as Tali's Oma did for her grandchild, speak to a strength of character beyond the typical. It speaks to empathy and compassion and feeling beyond self. And for Tali to listen and learn and then apply that lesson to another makes that small brass charm a greater gift than any gold or diamond trinket could replace.

From The Brass Charm by Monique Polak, illus. by Marie Lafrance

There is a lesson from history here with Tali's Oma remembering Terezin and an experience from World War II. But it is in the context of connecting with others and a grandmother-granddaughter relationship. Not surprising that, even with a story that includes both historical and contemporary scenes, Marie Lafrance whose artwork was rendered with graphite on paper before digitally coloured and texturized via collage, is able to meld the two time periods by focusing on the child in each. It's Tali's experience and then her oma's when she was a child. It is from their perspective: what they see, what they feel, how they respond. So when the two come together in the present, as elderly woman and young child, they are feeling and understanding as the same. And Marie Lafrance gives the two similarities in their physical appearances, with the golden curls of their hair and delicate chins and ears, and makes it clear they are related. But she also gives a softness to a hard story, a story of destruction and hatred, loss and generosity. By keeping the dark grey tones for the camp and the storm and using soft colours of blues and rose and such for everything else, Marie Lafrance emphasizes the tenderness of being there for others, not the damage of the negative.

I can't think of a gentler way to introduce children to the Holocaust and Nazi concentration camps than a reading and discussion of The Brass Charm, though its story is far greater than those historic concepts. Read for a memorial day such as the International Holocaust Remembrance Day (January 27) but also for lessons about empathy and the goodness of paying it forward. The best acts of kindness do not require recompense or recognition. They come from making someone's life a little easier, whether during storms, times of trouble or now.

• • • • • •

Author Monique Polak will be launching her new book on November 20, 2022 at 2 PM at the Gelber Conference Centre, Musée de l'Holocauste Montréal / Montreal Holocaust Museum. Reserve your free tickets at Eventbrite here. 

Jasper's Road

Written by Susan White

Acorn Press

978-1-773660981

164 pp.

Ages 8-12

May 2022

There are families by birth and those by invention. And sometimes, because of the families of birth, better families are created from disparate parts. The story of Jasper's Road is about such families.

 

When Jasper's Road begins, a large extended family is gathering to celebrate Amelia's day. Amelia Walton, who passed five years earlier, started taking in kids after she was struck with a neurological disease which motivated her to become a recluse. Opening her home to more than 100 kids over the years, for short- or long-terms, Amelia Walton left her mark with her heart, her wisdom, and her compassion. Now each year, many of those she fostered along with their own families gathered to share food, memories and trivia as Amelia would have liked.

Thirteen-year-old Jasper, who'd come to Amelia as a baby and now was part of Jodie and Zac Williams's family, had always felt welcomed but, because of a recent fostering of fourteen-year-old Jake Turner by his Aunt Rachel and Uncle Ryan, Jasper is feeling more vulnerable, especially about a facial abnormality that Jake ridicules as "Zipper Lip." But as Jasper tries to figure out how to deal with Jake, Jake himself is struggling with finding himself as a part of yet another foster family and without his little brother Tommy. Then near tragedy strikes and Jake forces Jasper and Jasper's 12-year-old brother Anderson to lie. Add to that the COVID-19 pandemic and the April 2020 mass killing in Nova Scotia and it would seem that everyone has some baggage that they're carrying around that confuses and confounds their relationships with partners and with their families, foster and birth.

New Brunswick writer Susan White, who has written YA and middle grade books including The Year Mrs. Montague Cried, winner of the Ann Connor Brimer Award, brings us into a complicated world of foster children, past and present, as they struggle and learn to make lives for themselves in the context of ever-changing relationships. Whether from abandonment or abuse, neglect or health concerns–including death of a parent–children enter foster care for a variety of reasons and just as varied is the care that they may receive. Some will find forever homes through adoption while others will bounce from one residence to another. In Jasper's Road, those fortunate enough to be taken in by Amelia Walton and subsequently by her "heirs" became part of something significant. And while it took me awhile to figure out all the characters and their relationships, including which were biological or otherwise, I realized it really didn't matter. Susan White gave us a rich community much like the one Amelia endeavoured to create, both complex and natural, saving herself and others in the process, and building something bigger than just a joining of individuals.

While this journey down Jasper's Road is complete, for now, I suspect that there are more travels ahead for Jasper, Jake, Tommy and their families, perhaps in New Brunswick or not, and I really hope that Susan White takes us down a few more of those roads by gifting us with their stories too.

My Words Flew Away Like Birds

Written by Debora Pearson

Illustrated by Shrija Jain

Kids Can Press

978-1-5253-0318-0

40 pp.

Ages 4-8

October 2021

There are all kinds of fitting in. But when you're new to a country with a new language, it is especially hard. Not only are you missing your old home with its familiar people and places, you're in a new place where communication is near impossible. For the child in My Words Flew Away Like Birds, she is completely unprepared for the vacuum of language with which she and her parents must endure.

That was my world 

back then.

This little girl remembers the trees, the noisy market, her grandfather's bakery, and her friends. In preparation for their move, her mother teaches her some rudimentary phrases that should help break the ice, like "Hello, how are you?," and "It was nice to meet you." 

From My Words Flew Away Like Birds by Debora Pearson, illus. by Shrija Jain

The words felt strange 

and lumpy 

in my mouth.

But, though she is amazed by the things she sees, like snow and a dog in a coat and booties, everyone speaks so fast in her new country and she cannot grasp the words or their meaning. She tries desperately to watch and listen but she feels so lost. 

From My Words Flew Away Like Birds by Debora Pearson, illus. by Shrija Jain

It's not until the next spring when she helps a little girl who falls off a playground swing that she can use one of her learned phrases, experiment with echoing the other child's words, and finally make the connection that makes her feel she belongs.

Many of us know what it's like to travel to new places where different languages are spoken. If we're considerate, we try our best to communicate in their language but appreciate it when the locals help us out by speaking in ours. But for immigrants, immersion in a new culture with a new language is undoubtedly daunting. Not only do they have to navigate bureaucratic and new cultural norms, they often must do so in a new language. For children who are desperate to make connections at school or in their neighbourhoods, how do they do this without words? Fortunately, what the child in My Words Flew Away Like Birds realizes eventually is that kindness and play have no language barriers and learning only happens when mistakes are made. These are both simple and complex messages and Debora Pearson shares them with a convincing text rich in auditory embellishments and striking dialogue, emphasizing what is most important to the young child. She'll remember the sounds she hears and the muffled vocalizations, hand-lettered for emphasis, until they can become words to her, words that don't fly away but instead are ones she can grab hold of.

From My Words Flew Away Like Birds by Debora Pearson, illus. by Shrija Jain

Artist Shrija Jain's pen and ink illustrations, which were coloured digitally, underscore the importance of the words and the connectivity between child and place. Using only pastel shades of blue, rose, purple and orange to offset the vivid black details of hand-lettered words, the immigrant family and those with whom they interact, and sparse landscape elements, Shrija Jain demonstrates what is truly important: connection through communication in all its forms and efforts.

This child may feel like the words of her first language flew away but she does find some new words and is delighted to move forward and recognize that "these words are here to stay." As with much learning, it happens with time and practice, and that includes mistakes, and the making of connections to make that learning worthwhile.

Sully, Messed Up

Written by Stephanie Simpson McLellan

Red Deer Press

978-0-88995-637-7

312 pp.

Ages 11-15

April 2021

Who is Sullivan Brewster? He's Sullivan to his mom, Rooster to his little sister Eva, and Van to his stepdad Bill. He's Sully to his friend Morty, who has changed his own moniker to Morsixx since reinventing himself over the summer before their first year in high school. And to those who don't know him or want to target him, he becomes Bella, Sally and a host of horrible nicknames. Is it any wonder that thirteen-year-old Sully doesn't know who he is or what he should be doing or who his friends are? He truly is messed up, and that doesn't even count the messing up he's getting from a trio of bullies named Tank, Ox and Dodger.

 

Sully's story seems to start on that first day of Grade 9 when he wakes up with his facial elements relocated around his head.

His nose, pink and dripping, hunkered sideways on his left temple. One of his ears–it was hard to tell which one from the unfamiliar angle–bulged where his nose should have been. The other protruded, antenna-like, right above his lips, which quivered, post-scream, in the middle of his forehead. (pg. 9)

But no one seems to notice. Still, Sully uses his long hair to hide his potential disfigurement. This instead grabs the attention of Tank, the overlord at Wild Forest Secondary, and his sidekicks Dodger and Ox. Worried that he will now become the victim of the Gr. 9 hazing called the Naked Niner, whereby a selected student is unclothed and photographed and publicly humiliated, Sully tries to stay out of Tank's field of view. Unfortunately, everything he does seems to garner him more unwanted attention. 

 

First, he believes his friend and locker partner Morty/Morsixx is drawing too much attention with his new emo boy look and attitude so Sully starts avoiding him by carrying his backpack everywhere, hiding out in the parking lot at lunch and abstaining from taking the bus. Even though Morsixx and Blossom, a new girl who adorns her face and arms with ink of vines and flowers, try to support him, Sully continues to reject their efforts. Then he's given the topic of menstruation for his Sex Education class and Dodger pranks him with countless tampons, earning him the displeasure of the principal and a host of new nicknames.

 

When he begins to walk to and from school, past a purple house on True Street, with its fence adored with an unusual assortment of figurines in ever-changing scenes, Sully becomes acquainted with the Purse Lady who gets his attention when she asks him, "What happened to your face?" (pg. 80) But who is she and why does Mr. C, the strange man in the purple house, seem to know her and Sully and maybe even what is happening in his life, all represented in the figurines of Charlie Brown, the Knight, Sleeping Beauty, Darth Vader and more?

 

School can be a place of refuge for some but for others, especially those who become marked as victims, it can be brutal. And for Grade 9 students, it can be especially challenging. With an implicit hierarchy of power and confusion about the supports which they may or may not have, those preyed upon by bullies may become even more isolated. This is Sully who confuses his friends with contributing to his victimization and who doesn't want to worry his family. He is awkward in discussions with his teachers and his principal and then makes further choices that complicate things for himself. But, while Sully has been victimized, Stephanie Simpson McLellan tries not to play up the young teen as a victim. He is instead confused or rather messed up. He's got all the basics–friends, family, the will– to make things right but, like his face, things just haven't fallen into place correctly. Fortunately, when he can see beyond his personal disasters and into those of others, Sully learns to stand up for himself and help himself adapt. This is an important message for young people and, amidst all Sully's struggles, it's one that Stephanie Simpson McLellan emphasizes. With some insight and a little help from others, Sully is finally able to put to rights his situation and find himself.

• • • • • • • • •

Tomorrow I interview author Stephanie Simpson McLellan about Sully, Messed Up. For middle-graders and early young adults and their parents and their teachers, this Q & A will speak to all of you.

Tough Like Mum: Q & A with author Lana Button

Yesterday I reviewed Tough Like Mum, written by Lana Button and illustrated by Carmen Mok.

Written by Lana Button

Illustrated by Carmen Mok

Tundra Books

978-0-7352-6598-1

32 pp.

Ages 3-7

April 2021

Reviewed here

 

 

Today I have the pleasure of presenting 

this question and answer interview 

with author Lana Button.

 

Author Lana Button

 

HK:  When I started reading Tough Like Mum, I wasn't sure if the issue tackled by the book was poverty or depression. Then I realized that what was most important was resilience which can be the antidote to both. As the author, what came first for you in writing the story: the issue or the response?

 

LB:  I am sensitive to these issues on a personal level, on a professional level as an early childhood educator, and on a creative level as an author for young audiences. I wanted to write a picture book story that would bring these issues to light; knowing and experiencing that there are children among the picture book audience who live with the challenges Kim and her mum face. It is important and powerful for children to read, in stories, that they are not alone in their experience. 

I also felt that a picture book tackling the issues of poverty and mental health could be used as a tool for building understanding and developing empathy, for those who have not had these life experiences. I was interested in telling a story that would provide a safe and age-appropriate place to start important conversations.

Finding the response–figuring out how to tell a hard-hitting story, while respecting the age and sensitivity of my young audience–was where I was tripped up, and where this story idea was stalled for a long time. I waited for the story to come to me. Then I heard two comments. One by a teacher. “Some of my students can’t complete their homework because their power gets shut off and it’s too dark.” Another was a response to the cost of an upcoming field trip. “It’s only $6.00. I mean, what’s $6.00?” All I could think from that was, “We can’t assume to know what $6.00 might mean to a family, what life is like in their home.” And BOOM! this very resilient little girl, waking up with her thumb in her mouth, popped into my head and her story became very clear to me.
 

HK:  Poverty is a tough topic to cover in a picture book, especially one for young children, though this is sadly the experience for many. How did you manage to stay realistic about the issue, for children to be able to see themselves, and still be compassionate without revealing vulnerabilities and sensitivities that some would prefer hidden? 

 

LB:  It is a tough topic, for sure. And I wanted to give a voice to Kim’s reality, while ensuring my young audience wasn’t overwhelmed. And so, I entrusted Kim as my storyteller. This resilient little girl is not easily shaken, and she conveys her experience in a matter-of-fact way, as children often do. She tells it simply, which allows a young audience to interpret the story at its baseline. I then relied heavily on the illustration to fill in the details of Kim and her mum’s reality. The nuances of the illustration allow an audience, when they are ready to take it in, to dig deeper into the story.

HK:  Tough Like Mum ensures that, first and foremost, we see the strengths of those dealing with poverty and hard times, not any weaknesses. Your title says it all. Is there a mum or a child for whom you wrote this book?

 

LB:  I wrote Tough Like Mum with the hope that there will be an audience who feels connected to this story on a personal level. I wrote it for anyone who is struggling or has struggled with financial burdens, and for those experiencing the weight of depression in their home.  In particular–the child who needs to feel seen, who needs to feel championed to try one more time, to reach out and ask for help–this book is for them.

 

HK:  I think that whatever hardships we all go through–physical, emotional, financial–asking for help is one of the hardest things to do and Tough Like Mum demonstrates that it happens for both adults and children. Why do you think it’s so hard to do so?

 

LB:  When we ask for help, we expose our vulnerability. That’s a scary place to be. Yes, it might be a path to help. But it might also be a path to rejection, to judgment and gossip, and to more pain. And if we’ve tried reaching out and then experienced hurt or rejection, it can be so much harder to take that chance again. 

And sometimes it might seem that the only thing we have control over is our reputation.
 

But it is my hope that a young reader might be inspired by Kim’s strength. That in times where they might need help, they will reach out to ‘the helpers’ in their community; the friends, the neighbours, the teachers.

In Tough Like Mum, Jen has done a great job teaching her daughter to be resilient. But ultimately it is Kim who leads her mum to realize that she is tough enough to accept help

 

HK:  The austerity of Carmen Mok's artwork reflects Kim and her mother's circumstances well. How much input did you have in ensuring the tone of the illustrations worked with your story?

 

LB:  I wrote the story with quite a few art notes. And I had a great conversation with Tara Walker at Tundra Books, who had the same visual interpretation of the story that I had. Samantha Swenson and I worked closely on the edits and she patiently indulged me as I gave her pages of back story for what seemed like every scene. I felt ‘heard’ and I felt like we were all on the same page when it came to the tone of the story. And so, when it was placed in the very talented hands of the incredible Carmen Mok it was time for me to step away and let Carmen and Sam do their magic. This distance is an essential part of the process, so that the illustrator can bring to life their interpretation, of what then becomes our story. And the result was a wonderful collaboration of words and art that told the story I was hoping to tell.

 

HK:  If there is one thing that you’d like young readers to see or learn from this story, what would it be?

 

LB:  I would love for a young reader to see hope at the end of a difficult day. I would love for each reader to see themselves as strong and resilient, and tough enough to ask for help (and keep asking for help) when they need it.

 • • • • • • •

 

Thanks to author Lana Button for talking to me about Tough Like Mum. This interview has given me loads to think about with respect to writing, and books that children need to read, of which Tough Like Mum is surely one.

Thanks also to Samantha Devotta, Associate Publicist at Penguin Random House Canada Young Readers, for reaching out and helping arrange this interview, and providing images to accompany both the review and this Q & A.

Peter & Ernesto: Sloths in the Night

Written and illustrated by Graham Annable

First Second

978-1-250-21130-9

128 pp.

Ages 6-10

April 2020

Peter and Ernesto, the two sloths from Graham Annable's first two books, A Tale of Two Sloths and The Lost Sloths, return to bring us another wonderfully heart-warming tale of friendship from deep in the tropical jungle.

From Peter & Ernesto: Sloths in the Night by Graham Annable

Peter, the more cautious of the two sloths, is trying out his new wind sock, made from fabric their sloth tree mate Bernard had found. Sadly there is no wind but Ernesto, always up for an adventure, wants to go check out a dragon that the motmots assure him has been seen at the spooky old temple by the river.  Not surprising that when the sloths discover Bernard is missing, Ernesto is convinced their friend has gone to see the dragon because, of course, that's what Ernesto wants to do.

From Peter & Ernesto: Sloths in the Night by Graham Annable

Even though the cautious Peter isn't convinced, he and the other three sloths (Stu, Rodrigo and Lola) follow Ernesto, meeting a swooping bat who warns them to be careful in the Dark Glades on the way to the temple. Though an owl, who thinks the sloths are very large mice, causes some consternation for the five sloths, a meeting with a polka-dot tree frog becomes a magical experience when he and his friends light the way for the sloths through the blackness of the Dark Glades.

From Peter & Ernesto: Sloths in the Night by Graham Annable

But getting through the Dark Glades is but one step in their search for Bernardo and/or the dragon at the temple, and it takes a turn when Peter falls from a broken zip line.  As Ernesto and the three sloths find their way to the temple and make the acquaintance of a different kind of dragon, Peter is meeting a river otter who is rebuilding a boat.  When everyone finally comes together, with new friends made, new alliances forged, and songs sung to ease their journeys, Peter and Ernesto and friends discover Bernard had found shelter and comfort far closer to home than anticipated.

Because the text is very light and much of the story is carried by the illustrations, Sloths in the Night is a great reading bridge between early reader and middle grade. Regardless of the austerity of his words, animator and cartoonist Graham Annable approaches the big issue of fears–of the darkness, of the unknown and even the known–with sensitivity, acknowledging that fears are very personal and cannot be disregarded just because another finds them unbelievable. As different as Peter and Ernesto are, they recognize the strengths and weaknesses in each other, appreciating attributes they themselves do not possess and accepting these differences as strengths. Even more endearing is the empathy they show to others, whether it be a homesick dragon or an otter with wanderlust, as well as to each other.

From Peter & Ernesto: Sloths in the Night by Graham Annable

Graham Annable has created another modest story in Peter & Ernesto: Sloths in the Night. It's modest in its messaging and matrix of story i.e. words and art. But it's also bold and assured in addressing the nature of fear and the power of friends to help. Like the polka-dot tree frog, Sloths in the Night illuminates the way through.

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Peter & Ernesto: A Tale of Two Sloths (2018)

Peter & Ernesto: The Lost Sloths (2019)

Peter & Ernesto: Sloths in the Night (2020)

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Fast Friends

Written by Heather M. O'Connor

Illustrated by Claudia Dávila

Scholastic Canada

978-1-4431-7040-6

32 pp.

Ages 3-8

June 2020

With a play on words and a story of  friendship beyond differences, Heather M. O'Connor helps children see the importance of focusing on our commonalities which connect us rather than that which might separate us.

From Fast Friends by Heather M. O'Connor, illus. by Claudia Dávila

Tyson is a boy who likes to do everything fast: run, eat, work. It often gets him in trouble with his teacher and classmates who might not appreciate the spills he causes or the impatience he has for them. When new girl Suze joins the class, in her shiny red wheelchair and helmet, Tyson notices how her eyes are drawn to his picture of a red race car and how interested she is in his books about fast jets and cheetahs. But, though he repeatedly volunteers to walk with her at recess, the teacher continues to pick others who either ignore her or put her to sleep. 

From Fast Friends by Heather M. O'Connor, illus. by Claudia Dávila

When Tyson sees Suze being raced to the playground with her older sister and taking delight in their fast play, Tyson knows how to bring out Suze's laughter and joy at school, if just given the opportunity.

From Fast Friends by Heather M. O'Connor, illus. by Claudia Dávila

Though the reading level for Fast Friends might direct this picture book to children of ages 3-8, I think it's really one for all ages. It's for adults who disregard those children who are far too active for quiet activities. Moreover, though we must always ensure that play and learning and fun should never put anyone at risk, we don't always need to treat children with special needs as fragile or something other than children. Fast Friends is also for children who are excluded from activities because they don't recognize how they might be perceived. Tyson doesn't see that his actions are impacting others and can't connect his recess solitude with those circumstances. Most of all, the story is for everyone to recognize that all children are different, in their play and their learning, and placing preconceived ideas about what constitutes safe or effective play and learning does a disservice to all.

Heather M. O'Connor captured my attention with her gripping hi-lo novel Betting Game (Orca, 2015) about sports betting in soccer. In Fast Friends, she also deals with a seldom-discussed issue, the subtle discrimination of both hyper children and those with special needs. Most people, adults and children both, would never intend to exclude or negate the needs of these children but it happens thoughtlessly, though with the objective of protecting children. Still Heather M. O'Connor's words tell the story without condemnation or judgment, only emphasizing Tyson's recognition of what Suze enjoys. In fact, Claudia Dávila's art fills in the blanks for young readers, giving them opportunities to practise their visual literacy skills. Do they notice the titles of the books Tyson is reading and sharing with Suze? Can they read the expressions on the faces of Tyson and Suze and their classmates and teachers? How does Claudia Dávila demonstrate how fast Tyson likes to move? The blend of subtle text with bold art will draw young readers to the story and help them learn that fast friends may come from immediate connections as well as some speedy action.

From Fast Friends by Heather M. O'Connor, illus. by Claudia Dávila

What If Bunny's Not a Bully?

Written by Lana Button

Illustrated by Christine Battuz

Kids Can Press

978-1-5253-0055-4

32 pp.

Ages 3-7

March 2020

Kitty from Lana Button and Christine Battuz's My Teacher's Not Here! (2018) is still learning to navigate school and to be a part of a peer group. But she's a clever kitty and when she's told about Bunny being a bully, Kitty is determined to understand.

From What If Bunny's Not a Bully? by Lana Button, illus. by Christine Battuz

Elephant tells all the others that Bunny is a bully because she is mean and will make them sad if she gets mad. But Kitty wants to understand so much about Bunny being a bully.

...did she start out friendly,
a kid like you and me,
but ran into a bullybug
whose stringer makes you mean?

She has questions about how Bunny became a bully, whether she will always be a bully, and even whether it's contagious.

From What If Bunny's Not a Bully? by Lana Button, illus. by Christine Battuz

But when Kitty worries that she could become a bully and too be left out, Elephant reassures her that they would never leave her out because then they would be the mean ones. That's when Kitty recognizes that maybe Bunny is not the bully she's assumed to be and they need to change something to make things better.

Lana Button has a keen sense of how young children think and feel. Like many young children, Kitty will tend to follow when she feels that others know a situation better, like the elephant seems to know from experience with Bunny. But Kitty also has an empathetic heart that makes her think about the big picture and discover when that picture may be skewed. From her innocent worries about a contagion to visualizing an elderly Bunny still being shunned by Kitty's peers during a game of croquet, Kitty sees beyond what they are being told and the hurt some of them feel.

From What If Bunny's Not a Bully? by Lana Button, illus. by Christine Battuz

Christine Battuz's illustrations emphasize that innocence of perspective in her use of colour and shape, placing her very softly rounded animals in familiar school yard scenes. Her stylized landscape of patterned balls on trunks for trees, and red flowers dotting the yard, with birds throughout is as the very young often depict their surroundings. Yet there's so much to see in the expressions of Christine Battuz's characters, from discomfort and bossiness, to confusion and surprise, that What If Bunny's Not a Bully? could be an anchor book for lessons about feelings.

For young children, lessons in getting along with others and creating inclusive communities can be challenging. Their needs are often so immediate and egocentric. But what Lana Button and Christine Battuz have done is brought these lessons to their bubble of experience and helped guide them to seeing outside of themselves to understand what others may be experiencing. A valuable lesson for all of us.

•••••••••••

Today 

Monday April 27, 2020

at 2 p.m. EST

listen 

to a reading

by author Lana Button

of

What If Bunny's Not a Bully?

and

 to a conversation about pro-social behaviour in primary grades.

as part of the #CanadaPerforms live presentations.

Just go to Lana Button's Facebook page at

https://www.facebook.com/lana.button.5

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