The Wise Pickle

Written by Sarah Howden

Illustrated by Sabina Hahn

Tundra Books

978-1-77488-698-4

40 pp.

Ages 4–8

June 2026 

 

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

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

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

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

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

 

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

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

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

 

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

A Little Halwa and a Big Family

Written by Farid Bazger

Illustrated by Sahar Abdallah

Running the Goat, Books & Broadsides

978-1-998802302

40 pp.

Ages 4–8

March 2026  

 

Halwa is a confectionery traditional to many countries from Central Asia to the Middle East and into Africa and Europe. And when Mama and Papa have a craving for it one night, but little in the way of ingredients for their large family, they plan a secret treat for themselves once their children are in bed. But, unbeknownst to them, everything will change when little Malala overhears their plan.

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

Malala tells her older brother Bahir, who tells his older brother Azmoon, who tells his older sister Lima, who tells her older brother Abasim, who tells his older brother Zareen, who tells his older sister Zala. And with that, seven children hatch a plan to be in on the late-night treat.

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

When the parents see the children have brushed their teeth and been tucked into bed, they head to the kitchen. But, when Mama starts to prepare all she needs for cooking the halwa, from matches to light the stove, and flour and sugar and other ingredients, she finds them all missing. The children obviously know what Mama will use, and with every staple needed, a child appears to deliver it. And with each delivery, the child is invited to sit and watch and wait to share in the halwa.

 

But the same problem that the parents recognized initially—insufficient ingredients to feed their large family the special treat—is still a problem, with every child getting a little halwa and the parents giving themselves none. Is there a way for a little halwa to feed a big family?

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

A Little Halwa and a Big Family is a version of a chain story in that there are seven children and a similar number of ingredients or elements needed to make the halwa. (A recipe is included.) With seven Afghan children to bring in the missing ingredients, it's a tale that emphasizes unity, sharing, and even teamwork, in a very playful way. Originally from Afghanistan, Farid Bazger blends his traditional culture with the mischief of children and the unselfishness of parents. From the tasty treat to the family dynamics, this is a large Afghan family rooted in affection and consideration. While the parents may initially seem a bit selfish hiding their planned treat from their children, they really aren't. It is just Papa having a craving and Mama happy to make it for him. And yet, when she finally starts cooking it, there is never any option other than sharing with their children. The parents are giving and caring and these same traits have been bestowed upon their children who want to do the same for their parents. 

 

Sahar Abdallah, an Egyptian-Canadian artist, uses pencil crayon, soft pastels, and powder pigments (see the video of her creating an illustration here) on brown Kraft paper. Her media give a softness of texture as well as colour, creating a homey feel within the illustrations. It's perfect for a story in an Afghan home with its large family of boys and girls wearing clothes of bright colours of green, orange, white, blue, and gold. Sahar Abdallah gives the story the warmth that Farid Bazger's family shows in its hospitality.

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

Whether you try the halwa recipe included or just enjoy being welcomed into this family's abode, A Little Halwa and a Big Family proves that, when there is kindness, there is always enough food to share.

Planting Sunshine

Written by Andrée Poulin

Illustrated by Enzo (Enzo Lord Mariano)

Groundwood Books

978-1-77946-095-0

116 pp.

Ages 9–12

February 2026 

 

As is often the case, Theo's day is normal enough until it isn't. And what changes everything is watching the news coverage of war breaking out far, far away.

Theo's father

turns on the TV— 

     and war arrives

in their living room. (pg. 9)

Theo cannot believe what he is hearing and seeing. Horrified by the sights and sounds of bombs and guns, tanks and drones, and most of all the destruction of people and place, Theo is troubled. He wants to know why this happens, whether they are safe, and asks why humans are so cruel.

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Though the countries involved are never identified, readers might recognize some of the images described as those from the attack on Ukraine by Russia, such as the elderly woman who confronts a Russian soldier with sunflower seeds and suggests that if he puts them in his pocket. . .

At least when you die here

     on the soil of my country

     the sunflowers will grow 

                    around you. (pg. 20)

Theo asks his neighbour Mrs. Lena, an elderly woman who grew up in "the country now caught in this terrible war" (pg. 21), about the war and this incident, and she tells him of the sunflower—soniashnyk, in Ukrainian—being the "flower that feeds hope." (pg. 22) Seeing Theo's continued distress, day after day, she gives him sunflower seeds to plant.

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Each day there is more horrific news from the war, and the details stay with Theo. He thinks about the numbers, about the images, about the losses, and all he can do is wonder why no one is stopping it. Each day Theo asks, "Will the war end today?" (pg. 38) The war may be very far away but it's impacting Theo in the way he sees life. The word "bomb" no longer reminds him of diving board cannonballs. His friends playing war angers him. His dad refuses to let Theo watch the news anymore, so Theo hides his tablet and watches at night. And then the nightmares start, a mix of anger, fear, hatred and more.

 

When he meets a girl drawing doves on a wall as protest, Theo is finally able to share what he's feeling–never wanting to burden Mrs. Lena or his teacher or his father—and feels a little less alone. And he finds his own way to express his anger and his grief. 

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Still, he is unconvinced that the war will end or that things would change, until Mrs. Lena offers him the idea of hope. She tells him, "Hope lives in the after." (pg. 91) And, with a little help from those around him, Theo finds a way to settle his anger, remember what should never be forgotten, work to help a cause, and find "a small way to start building peace." (pg. 110)

I could quote page after page of eloquent text that clutches at the heart of Theo's bewilderment and trauma. Andrée Poulin has always had a knack for telling tough stories lightly—not lightheartedly—for a young audience. Whether it's sanitation (Burying the Moon, 2021), diversity and tolerance (Tickled Pink, 2020), or abandonment (The Biggest Poutine in the World, 2016), Andrée Poulin recognizes that her audience is young, and will be impacted differently about important issues. Theo is just such a child, significantly impacted by a war thousands of kilometres away, and not understanding fully what is happening. He's feeling a lot and needs help understanding those emotions and directing them into activities that help. Andrée Poulin takes Theo full circle, from unfamiliarity with war, to an introduction by media, to immersion in images and sensory overload, to impact and trauma, and finally purposeful attention. And she does so eloquently in words and in verse form. This book will become an exemplar of telling a story with sensitivity and compassion, and awareness of how world events can impact children in powerful ways. 

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Enzo (a.k.a. Enzo Lord Mariano), a Montreal-based illustrator, provides the artwork that frames Andrée Poulin's story. Using Procreate with watercolour textures, Enzo gives us some war images—the ones of a blue tractor in a field of sunflowers that is later devastated by bombs is especially heartrending—but generally it's all about Theo because this is his story. It is not a story of war. It is a story of a boy who struggles with the concept of war and his emotions with the senseless destruction it perpetuates. Enzo helps us see Theo's anguish and his anger, the trauma of his sleepless nights, and his despondency. But Enzo also shows us family, friendship, and community, and how those can soften the suffering.

 

I don't think I can say enough about Planting Sunshine. (A French-language version, Semer des soleils, was published in 2024 by La courte echelle.) Not only does it remind all that there is an ongoing conflict in Ukraine, but that there are children beyond the borders of that war that are struggling with it. Highly sensitive children like Theo can be impacted by what they see and hear in the news and cannot always articulate what they are feeling or recognize how to grapple with those emotions. In a world of strife and public media, children will continue to be exposed to all manner of frightening news. Awareness of their potential struggles and attention to their needs might help them find ways to plant sunshine and to unearth hope.

Bark Twice for Murder (Orca Currents)

Written by John Lekich

Orca Book Publishers

978-1-4598-4148-2

120 pp.

Ages 9-12

RL 3.0

August 2025 

 

There may be a murder and some nefarious actions in John Lekich's latest hi-lo novel but, rest assured, regardless of the title, no dogs are injured, abused, or killed in Bark Twice for Murder. And though it may not be important to many readers, for this reader, it's critical. Instead, Bark Twice for Murder has food, humour, a mystery to solve, and a talking dog. See? Lots to love and nothing to fear.

 

Fourteen-year-old Harry lives with his grandmother Elinor since his parents were killed in a plane crash a few years earlier. His dad was a chef with a food truck named "Pasta Express," and his mom loved to bake. No surprise that Harry finds comfort—maybe a bit too much comfort, says his therapist—in cooking for others. Fortunately, he has lots of people to talk to after Elinor, who took over the food truck business and expanded it, has set up one truck outside of Vancouver's New Day Shelter to provide breakfasts and lunches for the unhoused. A lonely Harry likes getting to know the people there and becomes friendly with Stanley and his dog Waffles. The duo are noteworthy in several respects. First, Stanley was once a chef and begins to teach Harry how to cook and improve service. Second, he has conversations with Waffles who is a dog that hates being a dog. And when Rudy "the Worm" Carelli, a regular at their small takeout restaurant, tells Harry that Stanley has stolen a portrait from Rudy's father, and that Stanley is in danger, Harry gets involved.

 

But when Stanley is murdered, and Harry hears a voice in his head saying, "Somebody murdered my best friend" (p. 29), Harry is compelled to partner with Waffles to find Stanley's murderer and solve the mystery of the missing portrait of Rudy's grandmother.

John Lekich who first provided this reader with great laughs and characters in The Prisoner of Snowflake Falls (Orca, 2012) does so again in Bark Twice for Murder. His young protagonists always seem to get mixed up in some criminal activity but it's generally due to circumstances beyond their control and with them really trying to do good. And with some supernatural elements involving Waffles, both in his origin story and his ability to communicate with Stanley and then Harry, John Lekich surprises readers as well as makes them laugh. Add in characters named Jimmy the Fork, Carmine "the Cobra" Carelli, Shaky Sam, Rudy "the Worm" and, of course, Waffles the dog, and you've got a cast of quirky or unnerving personalities that take Harry out of his comfort zone and make him feel like he belongs.  

 

Don't be surprised if you can't figure out the mystery of the missing portrait or who murdered Stanley. John Lekich doesn't make it an easy solve, but he does let Harry solve it. Bark Twice for Murder may be a hi-lo story written at a third grade reading level, but John Lekich ensures that the story is intricate enough for older middle-grade readers to become invested in Harry's story and in solving the mystery. They might even get wrapped up in learning to cook risotto, lasagna, or minestrone. That's because John Lekich has seasoned this book with so much richness of story that they'll be barking—with laughter—for another. 

Our Ancestors' Kitchen

Written by Willie Poll

Illustrated by Shaikara David 

Annick Press

978-1-77321-962-2

36 pp.

Ages 4-7

April 2025 

 

Our ancestors teach us that there are memories in our meals.

There is magic in our cooking.

There is culture in our food.

 

So begins Willie Poll's story of a child learning at the stove of her grandma. With each dish comes a story and an invitation to witness how their ancestors lived and her own memories of her Grandpa and her community.

From Our Ancestors' Kitchen, written by Willie Poll, illustrated by Shaikara David

First they cook the minoomin (wild rice) and the girl begins to see a different scene within the kitchen. She can smell the water in which the wild rice grows, and she can hear the frogs, and see her ancestors on the water harvesting the rice. 

From Our Ancestors' Kitchen, written by Willie Poll, illustrated by Shaikara David

Next, Grandma is cooking meat, and the child sees the kitchen transformed with the colours of fall and animals stocking food for winter, and she remembers hunting with her Grandpa. That meat brings memories of finding mooz (moose) with their moose calls, and the tradition of giving thanks with prayer and asemaa (tobacco) after the mooz's "spirit danced into the sky." As important is the sharing of the meat with their Elders so that they might also care for their community. Their cooking together continues with maple syrup (zhiiwaagamizigan) and sunchokes (ashkibwaa) and blueberries, each bringing memories of time with her Grandpa and with the lives of their ancestors. And when the family and friends gather to eat, their ancestors join them.

From Our Ancestors' Kitchen, written by Willie Poll, illustrated by Shaikara David

Willie Poll, a Métis writer from Sault Ste. Marie and now of Prince Edward Island, reminds us of the importance of food to culture and to connecting us with those who came before us. Whether we learned to cook the foods from their hands or how to harvest the ingredients from age-old practices, those culinary experiences are almost bred in the bone. And when connected to our ancestors, the experiences are almost spiritual, as this child recognizes in the richness of the memories and the awareness of her heritage. With each ingredient and dish, she is transported to places she has been and to people she may have never met. But still the sensory experiences of those foods have become a part of her, to share with others now and forever.

 

Shaikara David, an Indigenous Mohawk from Akwesáhsne, uses her double-spread illustrations to bridge the contemporary with the past seamlessly. On a single spread, the child and her grandmother cook in a modern kitchen which transitions to an outdoor setting of trees and water and include Woodland-style artwork on blue backgrounds for animals and more. (See the rabbit, fox, squirrel and birds in the illustration below.) Shaikara David creates an organic connection between the present and the past almost effortlessly but still with some whimsy like the presence of the water rising beneath the kitchen table upon which a frog sits.

From Our Ancestors' Kitchen, written by Willie Poll, illustrated by Shaikara David

Many of us know that connection with our heritage and our ancestors through food but Willie Poll and Shaikara David help us to see the one that comes through an intergenerational relationship and into a culture with which most of us are unfamiliar. Moreover, in her author's note, Willie Poll wants readers to think about Indigenous Peoples and their connection with the land, as well as other cultures and their connection to food and the land. It's a relationship that is borne from acknowledgement and appreciation, enduring generations even as things change around us.

The Girl Who Loved Poutine

Written by Lorna Schultz Nicholson

Illustrated by Rachel Qiuqi

Sleeping Bear Press

978-1-534113169

32 pp.

Ages 5-8

2024

A story about poutine, about regional and cultural differences across Canada, and about a family get-together for a birthday on July 1st? It doesn't get much more Canadian than that.

From The Girl Who Loved Poutine, written by Lorna Schultz Nicholson, illustrated by Rachel Qiupi

Zoey is looking forward to her fifth birthday, a day on which she will enjoy her favourite food: poutine.

Zoey closes her eyes and imagines . . .
french fries and gravy and squeaky cheese curds.
SQUEAK. SQUEAK. SQUEAK.

From The Girl Who Loved Poutine, written by Lorna Schultz Nicholson, illustrated by Rachel Qiupi

Zoey may help her dad make his famous poutine but what she doesn't know is that all the relatives have decided to have a poutine contest to celebrate the special day. And with each entry and tasting by Zoey comes a story and a feeling. There's Aunt Janice's Newfoundland and Labrador poutine with breadcrumbs, onions, and salt meat. For Zoey, it brings back memories of a trip to St. John's and kitchen parties. Aunt Anne and Uncle Liam's PEI poutine has lobster while Aunt Celine's Montreal poutine has smoked bacon, onions and maple syrup.

From The Girl Who Loved Poutine, written by Lorna Schultz Nicholson, illustrated by Rachel Qiupi

With each new dish, Zoey gets a different memory, travelling from Newfoundland to Saskatchewan and Yellowknife and elsewhere in Canada and in time with family. Who wins the poutine contest? It's the girl who loves poutine, of course.

From The Girl Who Loved Poutine, written by Lorna Schultz Nicholson, illustrated by Rachel Qiupi

Poutine is such a quintessential food from Quebec, though adopted and adapted across Canada and the world. But Lorna Schultz Nicholson doesn't just make this a book about the food–a recipe is included, as are facts about the dish–but she makes it a story of family and Canada. Zoey may love poutine, but she certainly has close bonds with all her family, and their poutines are memory cues for times spent together enjoying the cultures and people of different provinces and territories. It's marvelous that the reader can learn about the various poutines, and the story would be a fabulous lesson starter about the attributes of different Canadian provinces and territories. Lorna Schultz Nicholson may not have intended The Girl Who Loved Poutine to be a teaching prompt for social studies, but wouldn't this be a great way to be introduced to the places and people of Canada?

Toronto's Rachel Qiupi, who appears to blend digital with traditional techniques, ensures that Lorna Schultz Nicholson's story is both lighthearted and informative. From the wonderfully colourful scenes and characters to the detailed poutines–for example, Nona's pasta sauce and the bacon on Aunt Celine's are apparent–Rachel Qiupi establishes an authentic and sunny vibe to The Girl Who Loved Poutine.

Whether you're a teacher or parent who wants to use this story as a lesson starter or just a kid who loves poutine, The Girl Who Loved Poutine will tickle your taste buds and have you longing for squeaky cheese curds, or maybe something else atop your fries.

Raven Gets Tricked (Coast Salish Tales)

Written and illustrated by Andrea Fritz

Orca Book Publishers

978-1459836273

32 pp.

Ages 6-8

September 2024

 

Andrea Fritz of the Lyackson First Nation brings us a new story for her Coast Salish Tales series, continuing to connect young readers to the teachings of the Coast Salish peoples through storytelling. 

It's winter and Smuy (little deer in the Hul'q'umi'num' language) finds his food stores empty except for some berries. When he realizes that he always shares with his cousin Spaal' (raven) who never reciprocates but often tricks Smuy instead, Smuy concocts a plan.

From Raven Gets Tricked, written and illustrated by Andrea Fritz

Smuy's plan begins with mashing up his remaining berries and pouring them out onto the snow beneath Spaal's tree. When Spaal' sees the red snow and asks Smuy to share it, Smuy does so. But Spaal' needed more space for this wonderful red snow so deposits his dried salmon and leaves it on the beach. While Spaal' continues to help himself to the red snow and even trying to hide that he'd taken more than his share, Smuy helps himself to the discarded salmon. 

Back after a night near Spaal's fire, all the red snow melts and floods his house. Smuy kindly takes Spaal' to his house and feeds him salmon, and even gives him some to take home as all his food is now gone. (At least Spaal' thanks Smuy with "Huy ch q'u!")

From Raven Gets Tricked, written and illustrated by Andrea Fritz

Between the art and the story, Andrea Fritz teaches, entertains, and delights with Raven Gets Tricked. The story has much to say about greed and sharing, self-sufficiency and helping others. It never occurs to Spaal', the raven who is known as a trickster, that he should think of others. He wants what he wants, never sharing–except when tricked into it–but always wanting from others, never wondering if they need something more than he. He asks, he takes, and he holds. Smuy, on the other hand, needs food. Whether his stores were always inadequate or because he shared with others or whether someone like Spaal' stole from him is irrelevant. I don't know why he didn't just ask but I suspect he knew that Spaal' would have many excuses not to share. Regardless, Andrea Fritz has created two very different characters. She makes Spaal' the selfish and manipulative creature upon whom misfortune occurs because of his own greed and Smuy, the kind animal who is compelled to reciprocate trickery but still shows goodness to help another.

From Raven Gets Tricked, written and illustrated by Andrea Fritz

Andrea Fritz even differentiates the two animals in the style of her art. Using a lovely and generously emotive Woodland style of art, Andrea Fritz gives Smuy a softness while Spaal' is somewhat sharper in shape and line. Of course, with a beak and talons, there is more sharpness to a raven, but the little deer looks lithe and muscular and still delicate. Moreover, Andrea Fritz's illustrations take us beyond the two characters, placing us in a northern environment of coniferous trees, laden with snow, purple and blue waters, and wooden plank houses. (The grain of the wood is reflected in many surfaces, from water and beach to sky and land.)

The story in Raven Gets Tricked offers a lesson in sharing but Andrea Fritz takes that teaching a step further by appending it with a discussion of Coastal Salish Plank Houses. She shares her personal experiences of building plank houses and even moving them to foraging grounds in the summer. Along with time spent in the houses, there is discussion about sharing and trading with local Nations.

Spuy may have to trick Spaal' in order to get food to survive but the little deer still does it with kindness and generosity, a lesson Spaal' should have learned.

 

• • • • • • •

 

Coast Salish Tales by Andrea Fritz

Otter Doesn't Know (2023)

Crow Helps a Friend (2024)

Raven Gets Tricked (2024)

Woolly Dog Warms His Family (expected 2025 or 2026)

What's in Alanna's Secret Sauce?

Written by Sarah Jane Conklin

Illustrated by Venus Angelica

Monster House Publishing

978-1-99822-308-4

38 pp.

Ages 6-9

September 2024 

 

I can't think of a better picture book to share for Thanksgiving than What's in Alanna's Secret Sauce?, which will the first book I will have reviewed from New Brunswick's Monster House Publishing. I'm just thankful that I read it this week and was able to get a review out in a timely manner.

From What's in Alanna's Secret Sauce? written by Sarah Jane Conklin, illustrated by Venus Angelica

As a child, Alanna helped her Nan in her garden, sowing seeds and bulbs for tomatoes and onions, garlic and herbs, and more. When they harvested, it was time to bring out the great big pot and start cooking. As their sauce cooks, Alanna is amazed by the aromas, both proud and intoxicated. But the smells that waft from their kitchen drift onto the street and draw neighbours and even strangers to the house. Even before the sauce is done, Nan tells visitors to come back for supper.

More people came to taste the sauce,

Its scent spilled through the town.

Her Nan invited all to dine,

Despite Alanna's frown.

From What's in Alanna's Secret Sauce? written by Sarah Jane Conklin, illustrated by Venus Angelica

They all return, everyone bringing what they are able, whether it be drinks or spaghetti, bread or prayers of thanks. And, miraculously, there is enough for all. 

Later Alanna grows into a chef and holds dear that recipe, but she carries on the traditions of generosity and sharing, having learned that the secret ingredient was not something that had to be picked and chopped or squirrelled away in the pantry.

At 9 years of age, it was all about Alanna and what she wanted, from insisting that all the seeds were hers–"They're all mine!"–as is the sauce–"I picked clean each vine, the sauce is mine, I'll keep it all myself"–to her worry that there wouldn't be enough sauce for her if they shared with others. She couldn't see beyond herself. This isn't unusual for very young children who see everything that happens as it relates to them. Fortunately, Alanna has a very wise Nan who guides her to experience generosity and gratitude by opening her heart and her kitchen to all.

"If everyone would do their part–

Contribute what they're able,

There'll always be enough for all,

If just brought to the table."

Similar to the parable about the fish and the loves, What's in Alanna's Secret Sauce? isn't about cooking or a recipe. It's about feeding masses with very little, all courtesy of a miracle. Nan's pot, even cauldron size, should only feed a limited number of people but, by some marvel, there is plenty. And there always is plenty in our world. People should not be going hungry. Author Sarah Jane Conklin, who currently lives in Nova Scotia but hails from Newfoundland, opens her story with a quote from Bono: "If you want to eliminate hunger, everybody has to be involved." Sarah Jane Conklin takes that sentiment and lodges it at a grass roots level in Nan's kitchen which she opens to everyone and anyone. Her secret sauce may draw them in, but everyone shares something, whether it be food, drink or sentiment, to turn a little sauce into a phenomenon to feel the belly and soul. And it's a lesson she teaches her grandchild by example.

From What's in Alanna's Secret Sauce? written by Sarah Jane Conklin, illustrated by Venus Angelica

I didn't know the work of illustrator Venus Angelica, originally from Toronto and now of Fredericton, but, wow, did she take me into Nan's garden and her kitchen, and even onto the street from which strangers and neighbours alike are drawn in. Her palette of autumnal colours of red, orange, green and yellow reflect the time of the harvest and also the time of Thanksgiving. Moreover, though they are just cooking and eating, there is life in Venus Angelica's art, from the bounce of Alanna's long curly hair to the swirls of aromas wafting from their cooking pot. And there is always goodness in the smiles of those partaking in the sauce to those doing the dishes and especially for Alanna's Nan who gives without reservation.

 

Having recently filled my own kitchen with jars and jars of tomato sauce and salsa, What's in Alanna's Secret Sauce? reminds me of the busyness and creation of good food. But it's the sharing of that food, giving without expectation, that brings the greatest joy and achieves the greatest good. So, this Thanksgiving, give thanks for food and give food to share, so that all have enough. And that's not much of a secret.

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 Space Between Here and Now

Written by Sarah Suk

Quill Tree Books

978-0063255135

320 pp.

Ages 13-17

October 2023

I know I'm a little late to review Sarah Suk's second young adult book (she wrote Made in Korea in 2021) but I just recently heard of this novel from the Red Maple panel of the Forest Kid Committee who recommended it for their summer reading list. (Each year that I help out with this committee, I learn of new Canadian titles for young readers. These young people are amazing readers!) After checking out their recommendation, I was intrigued by the blurb about The Space Between Here and Now and was not disappointed.

 

Aimee Roh is a typical 17-year-old Korean Canadian living in Vancouver, BC with Appa, her father. She's thinking about university, she hangs with her friends, she has a passion for photography, and she and her father have a close but respectful relationship. She's typical in every way except that she has a rare condition called Sensory Time Warp Syndrome a.k.a. STWS. Those with STWS have different triggers for memories that can transport them back to the time of the memory. When triggered by smells, Aimee disappears, travels back to a memory usually for just few minutes. Some people grow out of the condition, but Aimee is finding that she's experiencing more frequent episodes and wonders if it is because of the stresses of being a senior and anticipating the next phase of her life. What doesn't help is that it is impossible to talk to her father about it or get the supports she needs to help her cope.

 

After a particularly lengthy disappearance in which she is taken to a long-forgotten memory of a family outing to Kitsilano Beach, before her mother abandoned the family when Aimee was 6, Aimee is confused. Her memory doesn't match what she remembers and she begins to wonder whether her mother perhaps had STWS. Taking matters in hand, and with the encouragement and help of best friend Nikita, Aimee embarks on a spring break trip to Korea, hopeful of finding out some answers about her mother and family that her father doesn't seem to want to share with her.

 

With Nikita researching online for clues, and Aimee reconnecting with her Aunt Gomo and childhood friend Junho, the search for Aimee's mom begins. With some new insights into her STWS and into her relationship with her father, Aimee finds herself gaining clarity and even confidence where there was once only confusion.

Teen angst is not unusual but the angst that comes from a chronic condition that unexpectedly disappears you from your life, even if temporarily, is beyond typical. It has left Aimee in a precarious position, in a space between then and now, unclear as to her memories of her past and her understanding of her present. Sarah Suk, a Vancouver author, gives Aimee a story that might appear tenuous, never knowing when she might disappear or where she will end up or even if there is a possibility of ending up in a time loop. But Aimee's story is not anxiety-driven; it is driven by a need to know. Young adults will appreciate that push to become self-actualized, to understand oneself. Aimee's life is many layered, between her issues of abandonment by her mother, being disaffected with her father, and struggling not to stand out because of her STWS. While today's teens may not have a memory-driven time-travel condition, they have their own issues that challenge them in their drive for understanding and satisfaction. They can learn from Aimee who faces peer pressures and family pressures and uncertainty and is still able to resolve things well enough for herself. She may not get the answers she was specifically looking for, but she gets what she needs and learns things that will help her, as well as others. 

Though the fantastical nature of Aimee's STWS elevates The Space Between Here and Now from the drama of teen angst to the realm of science fiction,  Sarah Suk gives a story that is both enlightening about one Korean-Canadian family as well as familiar. For that reason, I urge young people to read The Space Between Here and Now for some insight into their own lives and relationships with others, particularly parents, to see how reconciliation may be reached with patience, effort and, most definitely, compassion.

The Pig and the Dumpling

Written by Bonnie Johnstone

Illustrated by Veselina Tomova

Running the Goat, Books & Broadsides

978-1-998802081

40 pp.

Ages 4-8

March 2024 

 

In a tale from a Newfoundland outport, Bonnie Johnstone tells a story of a pig, a dumpling, and mayhem. It's a story that could only come from a small rural community in which everyone knows everyone else, and their actions are noted and intertwined for good and with misfortune.

From The Pig and the Dumpling, written by Bonnie Johnstone, illustrated by Veselina Tomova

After three fishermen tend to the garden belonging to the local convent, they are compensated with a hearty meal of stew with dumplings. As one of the men was not fond of dumplings, he tossed it towards the pig pen of Ignatius, Tulip, and their piglets. To his delight, Ignatius grabs that dumpling. To his horror, it scalds his throat and lodges there.

                                      The scalding hot lump

                                    of gluey dough

                                  plopped down

                                into his throat

                              like

                           a cork

                        in

                  a

            bottle.

In desperation, Ignatius makes a mad dash to the ocean, the ocean with icy cold water that would be sure to soothe his burning throat. But there is much activity in the outport, and it seems everyone is out and about and unknowingly in Ignatius's path. There's Tommy and Gussie who've gotten their kite stuck in Father McGettigan's rose bush. Then there's Father McGettigan and Reeni Puddicombe delivering pies for the church supper. Of course, Ignatius runs through and into Lizzie Carey's laundry hanging on the line, and, though he was able to miss the elderly Mrs. Maddigan and her cow Maude, the peddler Nellis was not as lucky. 

From The Pig and the Dumpling, written by Bonnie Johnstone, illustrated by Veselina Tomova

Ignatius's misfortune continues with more encounters with an accordion, drying fish, and a cart of kelp. And all for relief from a perilous dumpling.

Perhaps The Pig and the Dumpling is a cautionary tale about gluttony or perhaps about chewing one's food, but maybe it's just a story about a community in which everyone is an important part, from a pig at a convent's farm to the kelp farmers, children, the elderly, and everyone in between. It's a community of life and living, in which neighbours help each other, in which fish is dried and kelp is collected, and laundry is hung out to dry, and pies are made for a church supper. That little dumpling may have stoppered poor Ignatius's throat temporarily, but it gave him the opportunity to get out and interact with others in the community. His interactions may have been problematic for many, including poor Ignatius, but Bonnie Johnstone gives us a happy ending and a glimpse into a rural Newfoundland community as it may have been in the 1800s. (Bonnie Johnstone's "A Note About the Story" gives a little more background.)

From The Pig and the Dumpling, written by Bonnie Johnstone, illustrated by Veselina Tomova

Veselina Tomova's art is highly textured, not unlike the story, with acrylic brushstrokes on canvas giving movement to Ignatius's quest for cooling and chaos along that crusade. As she demonstrated in earlier books like Spirited Away: Fairy Tales of Old Newfoundland, PB's Comet and Daphne's Bees, Veselina Tomova knows how to get the atmosphere appropriate for the story, from light and airy, to dark and brooding, or silly and chaotic. With the colours, the shapes, the application of paint, Veselina Tomova gives The Pig and the Dumpling the realism with the nonsense and will have readers wondering whether there was an Ignatius to whom this really happened. With a quick visit to this outport of days gone by, they'll all know soon enough.