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.

One Can

Written by Lana Button and Eric Walters

Illustrated by Isabelle Malenfant

Groundwood Books

978-1-773067346

32 pp.

Ages 3–6

September 2025 

 

For many Canadian public schools, yesterday was the first day of the 2025-2026 academic year. That first day of school brings such promise. It's usually a fresh start with a promise for better and more opportunities for...everything. But for too many children, that hope may be limited, even if they don't know it. For the child in Lana Button and Eric Walters's first picture book collaboration, illustrated by Isabelle Malenfant, those limitations do not curb their generosity and compassion.

From One Can, written by Lana Button and Eric Walters, illustrated by Isabelle Malenfant

Knowing that their class is collecting canned food for a food drive, a child grabs the lone can of Zoodelicious from an almost-bare pantry. Knowing it's their favourite, the child hopes it is that for someone else too. In class, the students place their donated cans on a 100-place carpet, with the child placing the Zoodelicious on the number 100, earning their can a snowflake sticker.

From One Can, written by Lana Button and Eric Walters, illustrated by Isabelle Malenfant

Things take an unexpected turn when Mom returns with groceries a few days later and his Zoodelicious can has a snowflake sticker on it. For the first time, the child recognizes that their family may be one of those in need that they were trying to help at school. A frank discussion between mother and child helps them understand better and even how to pay it forward with some much-loved mittens. 

From One Can, written by Lana Button and Eric Walters, illustrated by Isabelle Malenfant

While there are too many adults who think that picture books are frivolous stories aimed for our youngest readers, One Can will surely remind them of the power of storytelling to present deep issues that are also commonplace. There is no frivolousness to this story. Instead, Lana Button and Eric Walters have given us a lovely story of sharing, reciprocity, need, and compassion, all told from the perspective of a young child. What is most surprising is that the child does not even recognize their family as a needy one until they see the snowflake sticker on the Zoodelicious and realizes where their mother must have gotten those groceries. Before then, they had what they needed, probably because their mother worked hard to ensure that they did. Not surprisingly, when their mother reveals their circumstances, the child thinks only of the other 99 families who would still need food and more. 

 

This could have been a very heavy story. Poverty and food insecurity are serious issues. Even as food and clothing drives become common practices throughout the year, and children such as this one are provided regularly with school lunches, here by their own teacher, the silence and secrecy and even shame are resounding. I'm so pleased that Lana Button and Eric Walters avoided those negatives with much sensitivity. The child is not ashamed to look at the school's Mitten Tree–where donated mittens and winter accessories are displayed for gifting–and doesn't hide the macaroni given by the teacher for lunch. Illustrator Isabelle Malenfant matches that powerful but tasteful approach to their story. Isabelle Malenfant, who similarly gave a softness of touch to Morris Micklewhite and the Tangerine Dress and Pinny in Summer, keeps her palest colours for the child's home and the boldest for outside. Their poverty creates a veil over their life, though outside of the home and at school, the child is seen as vibrant as everyone else. In addition to the colours of her digital illustrations, Isabelle Malenfant uses perspective to juxtapose the child against two different worlds, one of limited resources and another where there is more. It gives the reader more context for this child's reality and even enhances our understanding of why they are able to extend generosity and compassion to others.

Lana Button's picture books like Tough Like Mum and Willow Finds a Way have always spoken to young children and what they might experience at school and home. And Eric Walters never shies away from tough issues like poverty in The King of Jam Sandwiches or COVID-19 in Don't Stand So Close to Me or incarceration, bullying, discrimination and more. Together these writers have approached the reality of many children, and instead of focusing on any limitations these children experience, they highlight how children can extend compassion and generosity to others. It seems one can, whether that of Zoodelicious or the picture book, can make a difference.

 • • • • • • •

 

Please consider joining author Lana Button 

 

at 

 

A Different Drummer Books 

513 Locust St., Burlington, Ontario

905-639-0925 

 

for the launch of One Can 

 

on 

 

Sunday, September 7, 2025 

1 PM

 

If you're able, please bring a can of food for FeedHalton.  

 

The Warmest Blanket in the World

Written by Tamara Levine

Illustrated by Ellie Arscott

Second Story Press

978-1-77260-410-8

24 pp.

Ages 6-8

February 2025 

 

While most of us are already thinking about the warmth of spring and summer, there will be many, particularly the elderly, for whom the change of seasons will not necessarily bring that which would warm their fingers and toes. For those with poorer circulation and other health issues, particularly those associated with aging, cold feet and hands can be problematic. And young Frida wishes she could do something to help her amazing great-grandmother Ama who says she feels like she lives in a refrigerator.

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

Frida enjoys visiting her great-grandmother as much as the older woman relishes seeing the child, telling her each time, "Do you know you've made my day? You're one special kid!" Ama tells Frida stories about her life and the importance of women fighting for their rights. (Frida even attended a protest with Ama once.) They sing songs together and they snuggle under her blanket. But even that blanket doesn't keep Ama warm enough. So, Frida gets some advice from her mom, her grandmother and her aunt.

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

Frida recalls what she'd learned of muskoxen which reminds her aunt, a knitter, of a mill in Nisku, Alberta where Tanis, an Inuk woman from NWT, prepares qiviut, the wool that comes from muskoxen. This wool is said to be the warmest in the world. 

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

Frida writes Tanis and explains how much she loves her great-grandmother and how much Ama has done to make things better for girls and women. Now Frida wants to help her. The response she gets is far greater than some skeins of wool.

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

There are a lot of layers to Tamara Levine's story of The Warmest Blanket in the World. There is a sweet intergenerational relationship between Ama and Frida. There is a story of activism and doing good and supporting the rights of others, particularly women and girls. There is also a story of compassion and sharing. And there's the story of the muskoxen and how the Inuit have spun the wool of these Arctic animals into yarn and clothing. That's a lot of stories, and Ottawa's Tamara Levine weaves them all together in a story of family. This is more than a story of a blanket. It's about who needs what, who can help, and why we should help. 

Ellie Arscott, who illustrated the award-winning Night Walk, keeps the lightness of family and the warmth of a blanket and affection in her artwork, done in watercolour and ink. There is realism, when she depicts the muskoxen on the tundra and in the sepia images of suffragettes fighting for the right to vote. But there is a quaintness in the patterns of blankets and bed linens, in the calico cat and in the coziness of their homes. Ellie Arscott keeps it all bright and homey.

 

The Warmest Blanket in the World is a tender story of family and kindness. It's wrapped in qiviut and embedded with affection and humanity. It doesn't get any more warm-hearted than that.

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.

Room for More

Written by Michelle Kadarusman

Illustrated by Maggie Zeng

Pajama Press

978-1-77278-252-3

32 pp.

Ages 5-8

June 2022

With fire season upon us, Room for More reminds us of the fragility of habitats and the vulnerability of animals to destruction too often wrought by humans, whether by carelessness or climate change. Fortunately, animal species such as the Australian ones Michelle Kadarusman has highlighted here do better than we do at showing compassion, generosity, flexibility and reciprocity.

From Room for More by Michelle Kadarusman, illus. by Maggie Zeng

Two wombats, Dig and Scratch, know that when they smell the smoke of a bushfire that they will be safe in their deep burrows. But when they hear other animals scurrying for safety outside, Dig offers them shelter, though Scratch keeps reiterating that, "There is no room." Still, Dig tells a wallaby with a joey in her pouch who was already succumbing to the smoke that, "We have plenty of room."

From Room for More by Michelle Kadarusman, illus. by Maggie Zeng

When Dig spots a koala clinging to a tree, he again helps a stranded animal, against Scratch's grumblings of limited space. When a tiger snake is spotted, there is much trepidation about a venomous snake that might bite but Dig is convinced the snake will behave.

From Room for More by Michelle Kadarusman, illus. by Maggie Zeng

Though very snug in the wombats' burrow, the motley group of animals survive until a rain comes and puts out the bushfire. But, with that rain, comes a new worry for the wombats whose home is in danger of flooding. However, their new friends find a way to reciprocate the relief provided, showing a generosity of spirit all around.

 

Australian-born author Michelle Kadarusman's "Author's Note" reveals that Room for More is based on the science that animals other than wombats would find safety in their deep burrows during the horrific bushfires of 2019-2020. Perhaps there weren't discussions between wombats about helping out or animals uniting to engineer an embankment, but Michelle Kadarusman reminds us that all animals, even unlikely allies, can cooperate for greater good and without compulsion for mutual benefit, though in this case that is exactly what happens.  Though the consequences of bushfires are often devastating, Michelle Kadarusman has emphasized a gentler story, that of animals surviving and by unusual means. And that's the good story. But Michelle Kadarusman also gives us the science of Room for More, providing a glossary of the species involved in the story as well as explaining important issues like climate change, environmental disasters and Australian Indigenous land practices.

From Room for More by Michelle Kadarusman, illus. by Maggie Zeng

That gentle touch to what is a heartbreaking and devastating circumstance is emulated in artist Maggie Zeng's digital illustrations. While there is an orange hue of fires and a pall of grey haze to the landscape, Maggie Zeng does not overwhelm the art with angry flames or blackened scenes of destruction. Instead, she takes us to a dry and warm setting that is softened with the kindness of benevolence. In her colours and shapes, Maggie Zeng offers generosity and compassion.

I know teachers will love to share this story with their students whether for STEM lessons regarding habitat, characteristics of living things, different world biomes or climate change or for character education centered on empathy and goodwill but at its heart it is a sweet story that goes beyond teaching by captivating readers and transporting them to other worlds. It would seem there's always room for another fabulous picture book on the youngCanLit shelves.

My Name is Konisola

Written by Alisa Siegel

Second Story Press

978-1-77260-119-0

176 pp.

Ages 9-12

March 2020

This is a story of generosity. Of how open-hearted strangers stepped into the life of a mother and a child. Of how remarkable coincidences, good fortune, and human connections rescued a young girl. And of how darkness became light. 

With this preamble, Alisa Siegel, a radio documentarian, begins the story of nine-year-old Konisola and her mother Abimbola as they escape an abusive situation in Nigeria and attempt to make a new life in Canada.

After an especially brutal attack by Konisola's uncle, their male guardian since the death of the girl's father, Konisola's mother stealthily grabs her child from school and they travel to Toronto. Their first bit of good luck comes when they meet Ayo, a fellow passenger, who gives them her address so they'd have something to tell the Canada Border Services agents. When Abimbola tells them "We need protection" and gives them the address, she is reassured that they will receive a notice about appearing before the Refugee Protection Division.

While staying with Ayo, Abimbola collapses and is taken to hospital. With Ayo's return to Nigeria, Konisola goes to stay with another woman who expects the girl to take care of the household and not go to school. After many weeks, Konisola contacts her mother's nurse, Colleen, and learns that her mother has advanced colon cancer. Though Konisola is ever hopeful that her mother will be with her soon, it becomes evident that Abimbola will never leave the hospital.

Colleen arranges for another nurse, Darlene, to take Konisola home with her. This is surprising to Konisola, as Darlene is white and already has her daughter Sara and grandson Kayden living with her. But over time, Darlene begins to feel like home.

As rife as Konisola's life is with worries of her ill mother and foreign living situation, some fortuitous circumstances ensure Konisola's safety, which is everything her mother wanted for her daughter. From meeting Ayo and then Colleen, and then Darlene, the right people found their way into Konisola's life. Her mother stays well enough to attend the refugee hearing and even make sure her wishes for Konisola's adoption are clear. At the hospital, Konisola meets Willson whose wife is also ill and this man, a retired lawyer, who was once the Children's Lawyer of Ontario, advises them through the legal adoption process.

From abusive circumstances in Nigeria to finding a new home with a new family, Konisola's story is one of angst and uncertainty. The child endures worries about her mother's health, the strangers in whose care she has been placed, the opportunities of going to school and being with other children and whether she'll ever be able to just be herself and a child. Imagine being a child and worrying that any pleasure you take in life, from play or laughter, is inappropriate. Even when she finally gets adopted–and there is a photo of an older Konisola and Darlene that proves the story is based in reality–she wonders, "Is it possible to find and lose a family at the very same moment?" (pg. 150)

Still Alisa Siegel, a true documentarian, develops Konisola's story with objectivity and distinction for her young audience. She tells it with accuracy from the perspective of a child who is often kept in the dark about adult problems but who shows the resilience and fortitude to endure.  I suspect Konnie has done well for herself, heeding her mother's sage advice:

Your present circumstances do not determine where you go, they merely determine where you begin. (pg. 133)

Shelter

Written by Céline Claire

Illustrated by Qin Leng

Kids Can Press

978-1-77138-927-3

42 pp.

Ages 3-7

October 2017

When a storm hits, we all need shelter in which to take refuge.  But how many would be willing to share their shelter with strangers in need?  Shelter is a story for all times and for now, when there are those with so much and so many with so little.  Tragedy, as always, becomes the great equalizer.

From Shelter 

by Céline Claire 

illus. by Qin Leng

When the animals of the forest–foxes, rabbits, birds, squirrels, boars–learn of an upcoming storm, they prepare by gathering wood and food and taking cover in their homes.  They are fearful but safe inside.

From Shelter 

by Céline Claire 

illus. by Qin Leng

Then two strangers appear in the fog and go from home to home, asking for shelter or food or light from the hearth in exchange for some tea.  Sadly they are turned away from each with lies that the dwellers have none to share.  Only Little Fox pursues them to offer a lantern.  But when the fox family must escape their collapsing den, the two strangers, bear brothers, offer to share with them the shelter they've created in the snow.

From Shelter 

by Céline Claire 

illus. by Qin Leng

If ever there was a story that illustrates the wisdom and compassion of the Golden Rule, that story is Shelter.  It is an allegory for our times of those who will not share or provide refuge for those in need or to those whom they fear, yet hope that some kindness might be extended to them when in similar circumstances.  French writer Céline Claire's story is both tragic and hopeful but Qin Leng's illustrations provide the visual context for that tragedy and promise.  From indoor havens and outdoor scenes of purposeful work, Qin Leng captures the reassurance of lives lived well.  Then, with the wind and gathering storm, she gives her illustrations a shadowy tone that emulates the anxiety of the two bears and those disquieted by their arrival.  Finally, her pen and watercolour artwork brings lightness to a dark world.

May we all find shelter during the storms, whether they be personal, political or climatic, and, whenever we can, let us provide refuge to those who seek the same.