Goodbye, Koi

Written and illustrated by Jack Wong

Orchard Books (Scholastic Inc.)

978-1-338830996

48 pp.

Ages 4–8

Releases September 15, 2026 

 

Moving means leaving as well as arriving. Anticipating the unknown can be scary, as can leaving the familiar and saying goodbye. For the young boy in Jack Wong's newest picture book, leaving his dear koi behind is a true reflection of what the child is feeling about his own move to another country.

...would remembering their old home make them feel lonely, too? (pg. 29) 

Illustration by Jack Wong from Goodbye, Koi, written by Jack Wong

The story starts with a boy and his dad taking their koi to their new home. The gorgeous fish of red and orange, who'd once lived in a large tank indoors, are taken to the ponds at a park with lush gardens, pavilions, bamboo, and more. As they prepare for their own journey, purchasing a winter coat and seeing friends for the last time, the boy thinks about his koi. Will they be cold outdoors? Will they make new friends? Will they remember? Will they be lonely? 

Illustration by Jack Wong from Goodbye, Koi, written by Jack Wong

Everything the child wonders about his koi reflects his own thoughts and concerns. Fortunately, his father reassures him with each answer, and the boy finally recognizes that, like the koi, they have each other to remember together.
 
Jack Wong appends his story with two sections titled, "A Journey of My Own," and "Hello, Koi." It is evident that, as he did in his earlier picture books like When You Can Swim (2023) and The Words We Share (2023), Jack Wong draws from his own life to give readers real stories. Goodbye, Koi may not be Jack Wong's story, but it is the story of moving, of leaving behind, of trepidation of the unknown, of a loss. It's wondering about what will be when you don't know what will be, and the ache of leaving something behind.

Illustration by Jack Wong from Goodbye, Koi, written by Jack Wong

For those who are familiar with Jack Wong's earlier picture books, you'll notice the distinct difference in his illustration style in Goodbye, Koi. Using Chinese brush painting, a traditional art style, Jack Wong reflects the essence of the koi and the movement of the boy and his family. There is a fluidity of brush stroke that matches the story better than any realistic representation could.
 
It's a new world for the koi and the boy and his father—who are last seen on a plane flying through blue skies—but it is one of promise for life and for opportunity, albeit through change.  

A Good Daughter's Ghost: Guest review

Written by Sam Wilket

Annick Press

978-1-834021157 

248 pp.

Ages 14–18

August 2026 

 

 

This guest review was written by Laura Krause.

 

A Hauntingly Good Debut 

This is a great horror story for young adults. It is a story in which a mother's grief allows literal ghosts to destroy the life of the family. Drawing upon her own heritage, debut author Sam Wilket, a second-generation Canadian of white British and Chinese descent, feeds her story with Chinese folklore and mythology, helping her to build the dread and danger at a near-perfect pace. But what really makes this novel shine is the more human story about grief, about how people move through it, and how it can slowly erode the foundation of a family, despite those who process that grief in a healthy way. 

This mother’s grief is an apt metaphor for the very mundane and non-paranormal way that the agony of loss can consume people. There are many creepy and chilling scenes that build horror associated with grief. These scenes, all occurring as characters process grief, include people having out-of-body experiences; having no memory of their actions and losing spans of time; hallucinating; and erupting into violent outbursts. The paranormal is used as a powerful metaphor for universal emotions faced by many at some point in their lives. 

Normally I get so frustrated with horror stories in which obviously supernatural and dangerous things occur. It is not uncommon to have characters who come up with ridiculous ways to rationalize what they experience, or who take far longer to reach their breaking point than feels realistic. But, in A Good Daughter's Ghost, I never once became frustrated at the characters' reactions to the increasingly scary circumstances because of the way Sam Wilket presented their emotional and life situations. The way they reacted made sense.

Apart from the subject of grief, the subplots focus on Rachel, our teen protagonist, and her relationship with her mom, as well as with her cultural identity. These story lines will be especially relevant to teens, the intended audience of A Good Daughter's Ghost, though the book can be appreciated by a far older audience too. 

 

I would have appreciated more detail in several aspects of the story. First, I craved more from the epilogue, so that there would have been more story of the aftermath of a violent and horrifying climax. Rather than jumping to six months later, I would have liked to see the journey to how things became okay again. Also, I would have liked for Sam Wilket to expand on how a Canadian Caucasian knew enough about Chinese spiritual practices to perform the steps that were taken. Perhaps because of her own background, which she writes upon on her website, Sam Wilket has such knowledge, though it would be unfamiliar to many persons. Some additional discourse about the source of that info would be valuable.

This may be a YA horror novel, but even as a reader who is beyond that age group, I still thoroughly enjoyed A Good Daughter's Ghost, and look forward to future titles from Sam Wilket.

• • • • •

 

~ Laura Krause (or LauraK483 as she is known online) is an aspiring book editor with a background in live theatre. She obtained her BFA in Theatre Production and Design from York University, and a master’s degree in Stage and Event Management from the Royal Welsh College of Music and Drama. She is currently completing the Editorial Skills program at George Brown Polytechnic. When she isn't working or reading, she is likely streaming video games on her Twitch channel or planning her next TTRPG project.

 

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.

Otis & Peanut: Forever and Ever

Words by Naseem Hrab

Drawings by Kelly Collier

Owlkids Books

978-1-77147-497-9

80 pp.

Ages 6-8

April 2024 

 

Like the classic early readers about Frog and Toad, Otis and Peanut have many stories to tell. The unlikely friendship of the long-haired guinea pig (Otis) and the naked mole rat (Peanut) is fodder for three more stories in Otis & Peanut: Forever and Ever that cover everything from cake to memories, gardening and absent sisters.

From Otis & Peanut: Forever and Ever, written by Naseem Hrab, illustrated by Kelly Collier

In the story titled "The Cake," Peanut surprises Otis with a luscious three-layer strawberry cake based on his sister Pearl's recipe. Though Peanut wants to dig in, Otis wonders what they are celebrating. Apparently, Peanut's answer of "celebrating cake with cake" doesn't cut it and is determined to save it for a special occasion. But would there ever be a good enough reason to eat cake?

From Otis & Peanut: Forever and Ever, written by Naseem Hrab, illustrated by Kelly Collier

The second story, "The Dream," has Peanut at home enjoying a breakfast of toast and jam when he discovers his last jar of strawberry jam made by Pearl. After eating, he is inspired to plant some strawberry seeds his sister had given him. After watching some kids play in the sprinkler and dreaming of when he and Pearl did the same, Peanut retrieves his own sprinkler to water his garden but to also reminisce and enjoy.

"The Collection" is Naseem Hrab's final story for Otis & Peanut: Forever and Ever, and says more about memories than the earlier chapters. While Peanut grieves the loss of his sister Pearl and finds himself remembering her in everything from baking to eating and playing, it is Otis who helps him to see the value in keeping memories as tangible objects. Otis himself keeps scrapbooks of memories and demonstrates to Peanut that, no matter how important the memories are, sometimes you can forget them. So, Peanut finds a way to keep his own memories, both happy and sad, safe and make new memories with his friend.

From Otis & Peanut: Forever and Ever, written by Naseem Hrab, illustrated by Kelly Collier

There is a gentleness to Naseem Hrab's stories of Otis and Peanut that invites young readers to see their own lives within the stories of the guinea pig and the mole rat. Children will be familiar with celebrating with cakes, planting a garden, playing in a sprinkler, and keeping bits and bobs of photos, ticket stubs, etc. as memories. They'll also know what it is to be a friend and have a friend. So, by nature of these stories, not only will they practise their reading and make connections between text and illustrations, they'll be making meaningful connections between the story and their own lives, learning about empathy, acceptance, cooperation and more.

Kelly Collier, who illustrated the first Otis & Peanut book, uses the same colour palette of turquoise and chartreuse with splashes of pink as she did in the first. It works to keep the overall effect uncomplicated but focused. Whether it's the cake or the jam and the garden or the keeping of memories, one emphasis is evident and not the background of detailed characters and settings or the jibber jabber of extraneous text. Together Kelly Collier and Naseem Hrab remember who their audience is and ensure that their reading and storytelling needs are met.

Because children have so much happening in their lives, whether it's a daily occurrence like picking clothes or reading books, or special events like a birthday party or performing at a recital, there are loads of stories that Naseem Hrab and Kelly Collier can share through Otis and Peanut. Whether it's to teach them about being a good friend, or to reflect the young lives of these readers, Otis and Peanut are there, as are we, to watch and learn. 

Otis & Peanut (2023)

Otis & Peanut: Forever and Ever (2024)

Do You Remember?

Written and illustrated by Sydney Smith

Groundwood Books

978-1-77306-986-9

40 pp.

Ages 3-6

October 2023

 

Remembering someone who is gone, whether through death, divorce, or moving, is a mix of grief and comfort. It's remembering the good times but never forgetting that loss. Do You Remember? is the sensory experience of a young boy and his mother remembering times when his father was still with them.

From Do You Remember?, written and illus. by Sydney Smith

Lying in bed in the dark, a mother asks her son whether he remembers a picnic in a field. She recalls the bugs and snakes the child looked for, but he remembers the sweet berries. They continue to trade remembrances, always asking, "Do you remember..." He recalls when his parents gave him his bicycle and he lost control, falling into a haypile. Then she recalls "the rainstorm" of the hard rain and leaking roof, thunder and lightning, and then the loss of power which led to the burning of Grandpa's old oil lamp.

From Do You Remember?, written and illus. by Sydney Smith

With each memory, there is that beginning idea, and then a multitude of vignettes involved in that memory. Perhaps most significant for them is when they left their home behind, and travelled further than they ever had, and got lost. That's the memory but the vignettes shows us the boy's dad handing him a teddy bear through the truck's open window, then waving to them, and the child holding the bear as they enter traffic and get lost. The memory is not just one of leaving: it is one of carrying boxes, a dad's face, a dad's wave, the many cars, watching from the back seat, holding his bear, and then seeing the source of all those memories stacked against the wall in their new place. The bear, the oil lamp, the bicycle, the picnic blanket–they're all there.

But do their memories have to remain in the past? Or are there new memories to be made?

A memory may be but a moment in time but it's a complex amalgamation of spoken words, foods tasted, textures touched, emotions felt, and images processed. It's seeing and feeling everything and incorporating them into a memory. It could be a sad memory or a joyous one, but it's all wrapped up and available to return the one remembering to another time and place. But, as Sydney Smith demonstrates, these memories are just part of the whole, of the past and future, of good times gone and future experiences still to be had. And loss and pain can play with those memories. In the case of this child and his mother, there has been a separation of his parents, and the consequent moving to a new home. Whatever rift has contributed to his parents' separation, his mother encourages him to remember times with his dad. She has not put her animosity, if she has any, ahead of the needs of her child. Instead, she encourages him to remember and to share in his remembrances too. There is tenderness in their exchange, understanding that there may be hurt below the surface and caution to not create more discomfort. They are tentative but honest, and that sincerity obviously comes from love.

Sydney Smith's illustrations, primarily watercolour and gouache, show a sensitivity for what the family is going through while demonstrating the strength of connection between mother and child even under these circumstances. They neither ignore nor rail at their heartache for their losses of father, husband, home, and established family. They look back but still forward. There is darkness–they are speaking at night in bed in their new apartment–but there are moments of lightness both in the past and in their future–as the child opens the window to the light–and Sydney Smith gives them that in his soft and thoughtful art.

From Do You Remember?, written and illus. by Sydney Smith

Sydney Smith dedicates this book to his mom, and his words and art honour parents who must move forward with a different family configuration. This mother, and undoubtedly many others, had to find ways to help their children accept new circumstances while not giving up on everything from the past. They remember and are loving enough to ensure their children do too.

Malaika, Carnival Queen

Written by Nadia L. Hohn

Illustrated by Irene Luxbacher

Groundwood Books

978-1-77306-850-3

32 pp.

Ages 4-8

May 2023

 

Malaika, whom Nadia L. Hohn introduced us to in Malaika's Costume (and revisited with Malaika's Winter Carnival and Malaika's Surprise), is always joyous with colour and exuberance. But it's family that brings her the most happiness. In Malaika, Carnival Queen, family is no less important but there is an element of grief that is wrapped in that familial warmth.

From Malaika, Carnival Queen by Nadia L. Hohn, illus. by Irene Luxbacher

Malaika lives with her Mummy, her new father Papa Fred, her Grandma, her new sister Adèle and new baby brother. But she's dreaming of a man carrying a basket of fruit, handing her a mango. Malaika believes it a dream about her father and her mother confirms it. Grandma gives Malaika a photo of her daddy working on a fruit farm with a message "To Malaika, my likkle one." He'd come to Canada before them to work on a farm, but he'd become ill and passed away without them.

From Malaika, Carnival Queen by Nadia L. Hohn, illus. by Irene Luxbacher

They decide it's important for Malaika to learn more about her father, so they take a trip to the farm where he'd worked, meeting some men who'd worked with him. They speak of his love for his daughter and his dream to make a carnival like back home. Malaika is invited to be the Carnival Queen for their upcoming harvest festival to which she agrees.

Malaika is ready with her carnival peacock dress, but she has a plan to make the parade extra special and ensure that "home" is at the heart of the event.

 

Malaika, Carnival Queen is an involved story but at its heart it's about family and home. Malaika has a family, but she has lost her birth father and needed to know more about him. With him showing up in her dreams, it was time to learn more. Nadia L. Hohn gives us the Malaika whom we've grown to love through her earlier books but in Malaika, Carnival Queen we are introduced to another side of her, that which has experienced loss. With Malaika's father as a migrant worker, Nadia L. Hohn opens the discussion with children about families who are separated through immigration, particularly because of farm work. Though the story of migrant farm workers is one of hardships, that's not the story that Malaika, as the daughter of one, needed to hear. She needed to connect with her father through his coworkers and through a carnival, and Nadia L. Hohn does that for the little girl. 

From Malaika, Carnival Queen by Nadia L. Hohn, illus. by Irene Luxbacher

That connection of family and place comes through Malaika's creation of a carnival flag of home. It's a banner of colour and heart and memory, and all those are depicted in Irene Luxbacher's illustrations. The artwork, created in gouache, soft pastels and found papers, gives the story both a softness of purpose and a quilting of connection. Those media are perfect for a story of loss and finding connection but also making connection. Irene Luxbacher, who has illustrated all four of the Malaika books, gives the colour and the boldness of a child with high spirits, but she also gives us tenderness for the loss felt by Malaika and others as well as a collage-feel that comes from kinship.

As Malaika grows older, Nadia L. Hohn shows us more sides to the little girl and her family, but she always keeps her as one with sensitivity. She may be a carnival queen but she's also a daughter, a granddaughter, a sister, and a friend, all which make her truly impressive and inclusive.

• • • • • • •

Malaika's Costume (2016)

Malaika's Winter Carnival (2017)

Malaika's Surprise (2021)

Malaika, Carnival Queen (2023)

The Remembering Stone

Written and illustrated by Carey Sookocheff

Groundwood Books

978-1-77306-589-2

40 pp.

Ages 3-6

March 2023

Sometimes a stone is more than a stone. Sometimes it's a memory, sometimes it's a connection, and sometimes it's an opportunity.

Alice has brought a stone for show-and-tell. Of course, her classmates see it as a stone. A rock. A piece of earth. Though she has lots of stories about using it to trick her dad or as a shape for tracing, it's the memory of skipping stones with her grandpa that is most important. Her grandpa knew how to skip stones and pick out the perfect ones. When he'd found this perfect stone, Alice had kept it in her pocket, probably for their next outing but perhaps because she didn't want to give it up to the water.

From The Remembering Stone by Carey Sookocheff

But when her grandpa got sick and passed away, the stone became something more.

From The Remembering Stone by Carey Sookocheff

The response to her show-and-tell stone may not have been what Alice expected but, when she realizes she's lost her stone on the playground, her classmates understand how important it is to her and they all start looking. They find a lot of stones, though not her special stone. Still, her new stones become something more too.

From The Remembering Stone by Carey Sookocheff

Carey Sookocheff's story is as deceptively simple as her illustrations. It may appear only to be about a girl and a stone which connects her to her grandfather. But Carey Sookocheff uses that stone as a bridge beyond that intergenerational relationship and allows Alice to see that it is both something special and something ordinary. The stone's value is what she places on it. It can remind her of her grandpa or help make new connections with her classmates or it can be just a skipping stone. Regardless of what the stone or stones have been or become, they have meaning, even when they're gone. 

The Remembering Stone truly becomes Carey Sookocheff's story because she illustrates it. Using acrylic gouache and graphite, she embeds the story in reality. Her art is clean and smooth and gives a calmness to being with others. It's the reality of going to school, participating in show-and-tell, spending time with a grandparent, and losing a grandparent. It's all about what a child might experience so it will speak to many children. But, while the story connects with young readers, it will also give them an opportunity to see that there are opportunities beyond the obvious. A skipping stone becomes a memory first but then it transforms both in its presence and in its absence. It's a remembering stone even when it's not.

The Bee Without Wings

Written and illustrated by Amberlea Williams

Princeton Architectural Press

978-1-797222509

40 pp.

Ages 4-8

March 2023

Though some parts of Canada will still be hit by significant snowfalls today, we'll all be anticipating spring and all that that season brings with it: bees, flowers, warmer temperatures, rain and so much more. But things aren't always as expected as Sasha learns.

From The Bee Without Wings by Amberlea Williams

While out with her cat Molly, Sasha finds a bee that is acting differently. She soon realizes it has no wings. She tries to help it, first by bringing it to a flower and then, when that is unsuccessful, by offering it sugar water. After a few sips, the bee is energized. But Sasha knows that, without wings, the bee's life will be very difficult. And so, Sasha takes responsibility for Bea, giving it shelter, food, and safety. Still Sasha knows that Bea longs to fly, and so she devises a contraption that would give Bea the pleasure of flight.

From The Bee Without Wings by Amberlea Williams

But bees do not live forever, and Sasha can see Bea slowing down and eating less. The loss is hard for Sasha and Molly, but they find a way to honour her, and, with much planning and research, Sasha does just that the next spring.

There are so many lessons that parents and teachers can take from The Bee Without Wings whether it be about a bee's life cycle or dealing with loss, but Ottawa's Amberlea Williams doesn't overwork those messages. Instead, she gives us a story of a compassionate child who loves being out in the natural world and recognizes a need to care for living things. In a world of "Me! Me! Me!" it's refreshing to see a child whose heart is full of wonder and empathy. From the child's words and actions to Amberlea Williams's gouache and coloured pencil illustrations, there is brightness and kindness. Even with the tragedy of a wingless bee and her inevitable passing, Amberlea Williams gives us lightness and joy, from eyes bright with curiosity and feeling, to landscapes magnificent in both flowers and snow.

From The Bee Without Wings by Amberlea Williams

Amberlea Williams appends her story with pages about caring for early spring bees and creating your own bee-friendly garden, thus giving young readers an opportunity to do good in the natural world themselves. But, even without those conservation efforts, young readers are encouraged to open their eyes and observe nature as it is. Sasha may have benefited serendipitously by her actions, making a friend in Bea, but her efforts were wholly altruistic, giving Bea sanctuary where her physical limitations may have hampered her. It's a feel-good story that confirms the insight of Laozi that "Great acts are made up of small deeds.”

• • • • • • •

 

An activity sheet from the book is available from the publisher for download here.

 

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. 

Bon Voyage, Mister Rodriguez

Written by Christiane Duchesne

Illustrated by François Thisdale

Pajama Press

978-1-77278-089-5

32 pp.

Ages 5-9

September 2019

Who is Mister Rodriguez? Where has he gone? These are two questions that the children of a charming coastal town are asking about the exceptional elderly man in the navy swing coat and red scarf. In the end, though, all that matters is that he is happy wherever he has ended up.

From Bon Voyage, Mister Rodriguez by Christiane Duchesne, illus. by François Thisdale

Each day, a group of children, the narrators of this tale, watch for Mister Rodriguez. But on one Monday, they watch him pause and look at his feet and realize the day is going to be different.

From Bon Voyage, Mister Rodriguez by Christiane Duchesne, illus. by François Thisdale

When a dove lands upon his foot and he attaches a very fine thread to her foot, the children notice. The next day the man seems to float just above the street while carrying a goldfish in its bowl upon his head. The following day, an old sheepdog approaches him and he transports the dog down the street in a wicker sled, again levitating above the ground. On Thursday, Mister Rodriguez ties wings to the back of a limping cat. On Friday, he rests upon a piano that appears on the street. And on Saturday, Mister Rodriguez does not appear and the children look for him. Finally the elderly man reappears floating far above them, accompanied by the fish, the cat, the dove, the dog and the piano. Knowing he would never return, they leave him a message in the sand.

From Bon Voyage, Mister Rodriguez by Christiane Duchesne, illus. by François Thisdale

Though the children did not weep for their loss of Mister Rodriguez, knowing that he was happy, I wept. I wept for an extraordinary man whose time had come to pass to the other side but who eased the passage of others with him. Though there is much for young readers to interpret about Mister Rodriguez and his existence on this plane and the next, they will appreciate the richness he brought to the lives of children who took pleasure in "seeing" him walk through or above the street, his cap low on his forehead, his bright red scarf a beacon of his brightness and his overcoat light billowing "as if he had clouds under" it. Christiane Duchesne's text leaves open what the children actually see and what actually happened to Mister Rodriguez but still laces it with the heartfelt emotion of a dear friend's passing.

From Bon Voyage, Mister Rodriguez by Christiane Duchesne, illus. by François Thisdale

Because of the surreal, perhaps supernatural, texture of Bon Voyage, Mister Rodriguez, François Thisdale's illustrations, created with acrylic and digital media, have the perfect blend of the ethereal and the realistic. The foggy coastal town is ghostly with its overhanging mist and crashing waves and a man who may be intangible. Still François Thisdale allows us to see how the children see Mister Rodriguez: walking, helping, guiding, living and not. He is a sympathetic and intriguing character, both down-to-earth and elevated.

Picture books about death and dying are plentiful and all aim to help children understand loss and grief. But Bon Voyage, Mister Rodriguez presents the concept of death in a wholly unique fashion, leaving open what happens after we leave the physical world. Mister Rodriguez, along with a lovely assortment of companions, may transition from one world to the next under the watchful of a group of children but it's evident that his life is far greater than just a physical presence in this world.

The House of One Thousand Eyes

Written by Michelle Barker

Annick Press

978-1-77321-071-1

354 pp.

Ages 14+

2018

The House of One Thousand Eyes is a dark book but 1980s East Berlin was a dark time and place. It was a time of the Berlin Wall and the Stasi (the State Security Service) and repression of thought, opportunity and interaction. It was a time of oppression and control and secret-keeping. It was dark and even more so for seventeen-year-old Lena Altmann.

When she lost her parents in a factory explosion, Lena was sent to an asylum. After three years of treatment, she was released into the care of her aunt, a Party member, who treats Lena as a simpleton in need of direction to prevent her readmission to the hospital.

... but Auntie was a good citizen, and goodness was rewarded.
     Badness, however, got you a one-way ticket to smartening up ... (pg. 57)

Unfortunately, her Uncle Erich, whom she adores and visits weekly, is a writer and a man of opinions and insight. 

Paper could get a person in trouble. When you wrote something down, you gave it life and made it yours. (pg. 22)

When she witnesses the removal of his things from his flat and finds a new tenant in place who tells her he has lived there for five years, Lena wonders whether she is delusional. She is told by all that she has no uncle. She cannot locate any of his books at the bookstores or library (her own have disappeared as have her photos of him) and is told there is no birth record of such person.

Working as a night cleaner at Stasi headquarters, also know as the House of One Thousand Eyes, Lena tries to determine what happened to her uncle and cut through the deceit and illusion that all is right in the "Better Berlin." But will the wall she has built up in her own mind continue to protect her from harmful thoughts and brutality such as that she suffers nightly at the hands of one Stasi officer? Or is it like the real Berlin Wall, still in place in 1983, doing more harm than good or in danger of crumbling?

The House of One Thousand Eyes is a brilliant novel of historical fiction. The setting may only have been thirty-six years ago, still in my lifetime, but it's of a time and place so inaccessible, concealed in the propaganda disseminated by those in power and perpetuated by those choosing to survive at all costs, that it will seem far more distant.  It is a hard and dark time for East Berliners who had to choose whether to deceive themselves about the inequities perpetrated by a corrupt regime or to suffer the consequences, as does Lena's uncle, for free thought and disapproval. Just as Uncle Erich knows about veiling one story in another, Michelle Barker's subtext about mental health, social inequalities and the freedom of expression is never lost in the story of Lena as she searches for her uncle and tries to make sense of a world that often made no sense at all. But Michelle Barker builds up Lena's worlds, real and "schrullig," into a monument that honours lives lived with courage and conviction, never blocking the light of truth, and she does so with strength of words and greatness of style.

Missing Mike: Book launch (Toronto, ON)

Author 

Shari Green

is launching her newest middle grade novel

Missing Mike

 

Written by Shari Green

Pajama Press

978-1-77278-045-1

244 pp.

Ages 8-12

May 2018

on

 Wednesday, May 16, 2018

4:00 - 5:30 pm

at

Queen Books

914 Queen St. E.

Toronto, ON 

From Pajama Press's website at http://pajamapress.ca/book/missing_mike/:

From the acclaimed author of Macy McMillan and the Rainbow Goddess, a timely middle-grade story about the devastation of wildfires and the resilience of the human spirit.

He’s a rescue, a mutt. Maybe there’s a little golden retriever in him, although he’s not exactly pretty. He’s had a run-in with coyotes and he’s missing an eye. But Mike is eleven-year-old Caera Donovan’s dog, and they love each other absolutely. Usually her pet follows Caera everywhere, but on the day the family first smells smoke in the air, Mike becomes anxious. Pine Grove is in the path of a wildfire, and the family is ordered to evacuate. In the ensuing chaos, Mike runs off. And then the unthinkable happens; there is no time to search for Mike. They are forced to leave him behind.

Shocked and devastated, Caera watches helplessly as the family drives through a nightmare, with burning debris falling from the sky and wild animals fleeing for their lives. Once in the city far from the burn zone, the Donovans are housed with a volunteer host family. Jewel, the hosts’ daughter, is nice, but Caera can only think about what she may have lost. What will happen if nothing is left? But as she reflects on what “home” means to her, Caera knows only one thing. She is not going to lose Mike. She will do what it takes to find him, even if it means going back to Pine Grove on her own.

With her signature style combining simplicity and lyricism, Shari Green, the author of Root Beer Candy and Other Miracles and Macy McMillan and the Rainbow Goddess tells an uplifting story of love and loss. And she shows how one girl’s stressful journey eventually leads her to an unexpected place, and a new definition of home.

Retrieved on May 2, 2018 from http://pajamapress.ca/book/missing_mike/.