Midnight Manor: A Backwards Bedtime Book

Written and illustrated by Sid Sharp

Annick Press

978-1834021195

36 pp.

Ages 3–5

October 2026 

 

It's the month of Halloween, and spooky stories and books abound. But Midnight Manor by author-illustrator Sid Sharp is anything but ordinary holiday fare. Sid Sharp, a Toronto illustrator who wowed readers with their first graphic novel, The Wolf Suit, brings something a little different in their "backwards" tale and in their art. 

Illustration by Sid Sharp from Midnight Manor, written by Sid Sharp

Why is it a backwards bedtime book, you might ask? When most children hear a bedtime story, they are going to bed to sleep. Not at the Midnight Manor. Here, when others are heading to sleep, the Midnight Manor inhabits are getting up and becoming active. They wake up, make their beds, get dressed, have breakfast, and get on with their days, excuse me, their nights. But, because the Midnight Manor's residents are all a little different, their activities are likewise distinct.

Illustration by Sid Sharp from Midnight Manor, written by Sid Sharp

The six-legged guy has a lot of red socks to put on. Breakfast includes tadpole pie and warm worms, as well as mugwort jelly and cobweb cake. A game of basketball ends up with a different kind of ball.

In the moonlight, 

the walls are full of whispers

and our feet are full of jigs,

 

so we march 

across the meadows

and we twirl 

around the trees. (pg. 25)

Illustration by Sid Sharp from Midnight Manor, written by Sid Sharp

And when the sun comes up, they have a snack, take their baths, say their "Good nights," and head to bed.

 

Midnight Manor will be a delicious read for Halloween, especially as little ones might like some ideas about costumes. But Midnight Manor's residents are not costumed entities. They are witches and skeletons, goblins and banshees, and Mothman and Bigfoot. They are diverse and quirky and perfect for a manor house epic in its structure as well as its inhabitants. Children will smile and laugh as they recognize familiar activities that are done just a little differently. (Okay, a lot differently.) They'll still see themselves in the story but just not exactly themselves. (Well, maybe if they have six legs. Or can remove their heads.) Sid Sharp, author and illustrator, keeps the story light in its creepiness, making it funny and curious rather than horrific or scary. They keep the fun in their characters—like the banshees rocking out in the basement, or the troll sitting on the toilet—so that young readers will only get more and more excited about the rapidly approaching holiday. As a lover of words, I loved the wordplay, with ample alliteration and a particular pun. 

 

But, as Sid Sharp is a graduate of OCAD, it's not surprising that readers will be drawn to the artwork (but will be kept because of the text). Sid Sharp uses a mix of traditional media with digital tools to give Midnight Manor a distinctly mysterious and playful aura. The colours may often be shades and tones that gives a dark feel to the story, but Sid Sharp gives brightness too with their bold hues. And the expressions on their faces—if they have faces—are likeable, even if they have very sharp teeth.

 

Midnight Manor is definitely a book you'll want to share this Halloween or anytime you want a dark and fun tale of the unfamiliar familiar. Young children will especially love recognizing how the residents of Midnight Manor are different but still similar to them. I just hope that when it's time for their bedtime, they don't decide to imitate their new and unusual friends.

The Land Speaks

Written and illustrated by Jadyn Williams

Kegedonce Press 

978-1928120575

30 pp.

Ages 4–6

Releases October 24, 2026 

 

A walk with her Mosôm is more than a hike for this child. It is a spiritual bonding with an elder, with the land and the sky and the animals that will take her through the seasons and through her life. 

Illustration by Jadyn Williams from The Land Speaks, written by Jadyn Williams

At the beginning of each season, a child joins her Grandpa by visiting a special place next to a pond which is surrounded by trees. There he greets the land, including in Cree, and all its plants and animals and recognizes all that the land provides. By speaking to the land, he teaches her, they would show gratitude and respect. In contemplation, they listen, they see, they smell, and they feel. It is a spiritual mindfulness linked to the land.

When summer comes, together they greet the land and different animals and plants, continuing to show gratitude, just as they do in the fall.

Illustration by Jadyn Williams from The Land Speaks, written by Jadyn Williams

But when winter comes, she walks alone to their spot, along the winding trail. Still, she remembers what he taught, knowing that Mosôm is still with her. He is in the ground, in the trees, in the animals, and in the moon and the stars.

Illustration by Jadyn Williams from The Land Speaks, written by Jadyn Williams

Jadyn Williams, an author-illustrator of Cree and settler mixed ancestry, shows her appreciation and gratitude for the teachings of her own Mosôm with The Land Speaks. It is a story of remembrance and respect, of identity and of culture. And, most of all, it is a story of family.

The most precious gift the land shares with us is that it is our relative. Our ancestors speak to us through it, reminding us they are always near. (pg. 24)

Jadyn Williams embeds that recognition in her art as well as in her words. Her words are warm with tribute and attention to what she has learned, to what Mosôm says, and to the land. When the land speaks, she listens. And her digital art, which has a folk-art appeal, emphasizes the bold colours and the personal connection between child and elder and between people and the land. By taking the reader to the same location through the seasons, both with the child's Mosôm and without, Jadyn Williams takes us on a temporal journey, one of connection and of mindfulness. This child may use that which her Mosôm taught her to help deal with loss, but it also demonstrates blessing that he shared with her.

 

This is my first review of a title from Kegedonce Press. Kegedonce is an Indigenous-owned and operated publishing house based at Neyaashiinigmiing on the traditional territory of the Chippewas of Nawash Unceded First Nation. I was delighted by the powerful storytelling in words and art of The Land Speaks. If this what we can expect from this publisher as well as this author-illustrator, I see more reviews of their books on this blog.

The Girl Who Loves Trees

Written by Nancy Cooper

Illustrated by Hawlii Pichette

Owlkids Books

978-1-77147-673-7

32 pp.

Ages 5–8

September 2026 

 

A visit to her grandfather on the reserve becomes a special time of traditional teachings and ecological learning for a young girl in Nancy Cooper's second picture book, this time illustrated by Hawlii Pichette. 

Illustration by Hawlii Pichette from The Girl Who Loves Trees, written by Nancy Cooper

Their day begins with an offering of tobacco and a prayer of gratitude to the Creator. When they make plans for the day, including collecting an offering of cedar for a community feast, the child has questions about the trees. Loving everything about trees, from their leaves to their bark and their branches, the child wants to ensure the trees will not be hurt.

"...will show the Tree Spirit and the Creator that we are thankful for the gifts the cedar brings us and that we recognize the sacred relationship and responsibilities we have for one another." (pg. 13)

Illustration by Hawlii Pichette from The Girl Who Loves Trees, written by Nancy Cooper

As  they walk a trail deep in the forest, Grampa shares his knowledge of the traditional uses of pine needles, of birch bark, of hemlock, and more. His granddaughter shows rapt attention for his teaching, learning family history while asking many questions. She is respectful and observant and understands more beyond just what she sees.

The Girl Who Loves Trees is a story of a special intergenerational relationship because it is based in an Indigenous culture and with an ecological basis. Though her debut picture book Biindigen! Amik Says Welcome (illustrated by Joshua Mangeshig Pawis-Steckley, Owlkids, 2023) also has a basis in the natural world, The Girl Who Loves Trees speaks more to the traditional teachings of her grandfather—who was inspired by Albert Dumont—and their relationship with the environment, rather than lessons in character education. Here Nancy Cooper emphasizes the relationships between grandfather and granddaughter, between trees and humans, between all living things, and with their Indigenous culture. It's a story that reminds that we are all interconnected and need to be cognizant and respectful of that interconnectedness.

Illustration by Hawlii Pichette from The Girl Who Loves Trees, written by Nancy Cooper

Hawlii Pichette, whose illustrations I enjoyed in Benjamin's Thunderstorm (Melanie Florence, Kids Can Press, 2023) and Benjamin Grows a Garden (Melanie Florence, Kids Can Press, 2025), is a Mushkego Cree urban mixed-blood artist whose artwork is deeply influenced by her culture. Her artwork is bold and vivid, strongly outlined as in the Woodland tradition. But her stylized depiction of trees, both coniferous and deciduous, were most compelling. They have a dynamism that speaks to the life they have and that they give. Hawlii Pichette demonstrates this same spirit in the grass, in the waters, and in her characters.

 

As a woman who loves trees, I appreciate Nancy Cooper and Hawlii Pichette's story for the arboreal elements of the natural world which have always spoken to me. For young children, it will remind them to be observant and respectful as they discover these same wonders. They may not be fortunate enough to have a grandparent of Indigenous heritage from which to gain knowledge, but, with The Girl Who Loves Trees, they will have a literary source to help them learn more.

Lemming's First Halloween

Written by Jamesie Fournier

Illustrated by Faiza Khan

Inhabit Media

978-1-77227-660-2

28 pp. 

Ages 3–6

September 2026 

 

Two years ago, Lemming celebrated her first Christmas (Lemming's First Christmas, written by Jamesie Fournier, illustrated by Tim Mack, 2024), but this year she has a little lemming pup, Lemmingkulu, who will be learning about "the chilly, dark night of Arctic Halloween." (pg. 9)

 

When Lemmingkulu sees all the children and monsters milling around, he cries out to his Anaana (mother). Frightened by a bandaged creature, a bony skeleton, and a pale ghost, Lemmingkulu wonders why their friends are wearing masks and costumes. His Anaana explains that "When the summer days cool and make way for icy, wintery blue, there is one dark night when the monsters come out to fright, and we join them as they do." (pg. 14)   

Illustration by Faiza Khan from Lemming's First Halloween, written by Jamesie Fournier

Though the text of Lemming's First Halloween is not obviously written in verse, Jamesie Fournier tells his story with rhyming that carries the reader from fright to fun easily. Very young children, like Lemmingkulu, might be frightened by some of the things they see on Halloween, but Anaana has wise words for them all.

In fact, to be brave we must first be afraid, to know what scares us true. So when the going gets tough, as always it must, we're ready through and through. For in our hears we're all scared little lemmings who can be bold too. (pg. 17) 

This will be something that Lemmingkulu takes to heart when Qallupilluk, that mythical Inuit creature that grabs children who venture too close to the water, approaches. Then Lemmingkulu's new lesson and grit help protect all his friends.

Illustration by Faiza Khan from Lemming's First Halloween, written by Jamesie Fournier

Lemming's First Halloween is not a simple story of Halloween. Author Jamesie Fournier, an Inuit writer from Thebacha/Fort Smith, may have a story ready for the October holiday shelves, but he also gives us a story of character, of family, and of Inuit and Arctic cultures. Halloween in the North is very different, especially because of the temperatures, the snow, and the darkness. But when you include the Inuit mythological creature Qallupilluk, a new layer is added to the story. Jamesie Fournier brings us something that truly is frightening, but Lemmingkulu is able to handle it because of the wisdom his Anaana shared.  

Illustration by Faiza Khan from Lemming's First Halloween, written by Jamesie Fournier

I was surprised to learn that the illustrations for Lemming's First Halloween were not created by the same illustrator who did Lemming's First Christmas. Faiza Khan, a Toronto-based illustrator, emulates the style of the earlier book (illustrated by Tim Mack) and gives it her own spin with art that speaks to the mystery of Halloween and the singularity of the holiday in the North. Faiza Khan's digital art keeps the joy and the fun in her bold colours and rounded shapes but gives us the cold and the frightfulness of Halloween with shades of blues and black and the sharpness that comes with ice and cold.

 

Teachers love holiday books, and they will love Lemming's First Halloween. But don't stop at using it as a Halloween story. Read it for its incorporation of Inuit culture and language (a glossary of Inuktitut words is included), of character education, and of life in the Arctic. Lemming and Lemmingkulu, and all their friends, have much to teach us.

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.  

Backpack

Written and illustrated by Katie Arthur

Owlkids Books

978-1-77147-725-3

40 pp.

Ages 4–7

August, 2026 

 

Soon school will be starting for many children. As they become part of a large school body, many will want to find a way to define themselves. It could be loudly or quietly, with confidence or with shyness, with a look-at-me attitude or with a I'm-OK-by-myself outlook. And the backpack, that familiar bag of many students, will help define them.

 

Katie Arthur, who illustrated the recently reviewed Whale Man: The Story of Jon Lien (Robert Chafe, 2026), follows Izzy through the year, starting on her first day of Grade 1 to see what her backpack, a blue one with ears and a toothy grin, will mean for her.

Illustration by Katie Arthur from Backpack, written by Katie Arthur

Getting her out the door is hard enough, especially when Izzy wants to take multiple, large, stuffed animals with her, and her preschool sibling wants to wear the backpack. But get to school they do, and with some loving goodbyes, Izzy joins the throng of students. Her backpack now has a place beneath her name, and a place to belong. 

Illustration by Katie Arthur from Backpack, written by Katie Arthur

That backpack carries a lot and does a lot. For Izzy, what her backpack means is very complicated. It holds her treasures, the things she needs, what she wears, and even what she'll eat. There are messages, school work, and odd bits of Lego and stones. "All the bits and bobbles of your life, held together with a squish and a zip." (pg. 13) It will bring her joy, comfort, and even hold onto sadness. It can serve as a pillow, as a toy, and a travel buddy. "You carry it, and it carries you." (pg. 36–37)

 

This is more than a book about Izzy's backpack. It's about all the backpacks and those who carry them. It's about what it does, what it means to you, and how it's a part of your growth. We transition through different sizes, through different styles, and with different contents. Whether we're young or old, our backpacks keep us company and serve us well. Katie Arthur's story may be about Izzy B.—there must be two Izzys in her class if the initial of her last name is being used—but it's also about a younger sibling, and all the children who carry backpacks. I love the colour and style of Katie Arthur's artwork which works so well in a book about backpacks. Like the variety of their shapes and colours, Katie Arthur gives the story that same range of feeling. From nervousness to joy, to confidence and heartache, the child carries it all and so does her backpack. The illustrations are colourful and bold but also overcast as the scene necessitates.

Illustration by Katie Arthur from Backpack, written by Katie Arthur

There is a trend—but one that is actually decades old—of examining the contents of purses. I hope Katie Arthur will consider a sequel to Backpack that might expand on what's inside different backpacks, so as to investigate how and what the contents might reveal of the person carrying them. As with people, what's on the inside is perhaps more important than what's on the outside. And what a backpack can do is so much more than just being a vessel for school stuff, as Izzy and Katie Arthur show us.

Boogy & Tee and Twinkle & Hew

Written by Kathy Stinson

Illustrated by Mark Hoffman

Groundwood Books

978-1-77946-036-3

40 pp.

Ages 3–6

September 2026 

 

 

"Stop saying that we are all in the same boat.

We're all in the same storm.

But we're not all in the same boat."

— Greta Thunberg

 

 

Are we all in the same boat? People often say, "We're all in the same boat" as a way to show shared experience and empathy for a shared difficulty. But how often is this true? Kathy Stinson's latest offering, Boogy & Tee and Twinkle & Hew, challenges the notion of equal experience, as did Greta Thunberg in her quote.

 

In rhyming verse reminiscent of Edward Lear's The Owl and the Pussycat, Kathy Stinson begins her story with two pairs heading out onto the sea in good weather. Boogy and Tee set out on their luxury yacht for a cruise, while siblings Twinkle and Hew leave their shack to fish for food. But when a storm hits, the seagoers experience difference circumstances.

Illustration by Mark Hoffman from Boogy & Tee and Twinkle & Hew, written by Kathy Stinson

Twinkle and Hew's old fishing boat falls apart and the two worry they will never see shore again. Boogy and Tee can see no reason to fret about the storm. Though Twinkle and Hew are still in dire straits after the storm passes, a clear sky of brilliant stars appears, and reactions of all seagoers are very separate.

 

But, when the yacht hits a rock, Boogy laments the loss of his things. On the other hand, Tee notices Twinkle and Hew and aims to help them. By helping them, Tee finds a way to save the two siblings and herself and Boogy.

Illustration by Mark Hoffman from Boogy & Tee and Twinkle & Hew, written by Kathy Stinson

While Kathy Stinson's story may be taken as one of cooperation and compassion—important virtues to convey—it is an allegory of how our world is operating. Too often there is a separation of the haves and the have-nots. How they perceive the world, both its marvels and its menaces, can be embedded in the inequality. Boogy and Tee are wealthy, travel the sea by luxury yacht, and barely notice the storm. Even when the storm passes and they witness the glory of a star-filled sky, Boogy imagines owning all of the stars. On the other hand, Twinkle and Hew have to go out on their not-so-fine fine boat to fish for  food. Even when clinging to their wrecked boat, the siblings think about what they mean to each other.

Hew's boat fell apart, breaking more than one heart.

     The two wept like never before.

They held each other, said, "Love you, my brother."

     Would they every get back to shore,

          To shore?

Would they every get back to shore? (pg. 16) 

How Kathy Stinson ends her story is one of positive expectation. She shows us that the inequality that drives so much of our contemporary world can be eclipsed with kindness and cooperation. We've seen it with challenges like the COVID pandemic and major power outages, but whether it lasts only as long as the metaphorical storm will only become evident in real time. 

Illustration by Mark Hoffman from Boogy & Tee and Twinkle & Hew, written by Kathy Stinson

New Hampshire illustrator Mark Hoffman uses collaged painted paper and coloured pencil to create both metaphorical and literal clashes, both between people and of the sea waves. The angularity of cut paper creates a tension that is part of both the sea and the seagoers. And with colour, Mark Hoffman gives us atmosphere, both strained and coordinated.

 

Here's hoping that we can all work towards a world in which we all weather the inevitable storms on safe and strong boats and in partnership with others.

Whale Man: The Story of Jon Lien

Written by Robert Chafe

Illustrated by Katie Arthur

Running the Goat, Books & Broadsides

978-1-998802357

44 pp.

Ages 4–8

August 2026 

 

Jon Lien (1939–2010) was an extraordinary man. His accomplishments, both academic and charitable, earned him the Order of Canada and the respect of many. This is the story of how Jon Lien became the admired scientist whose benevolence saved countless marine mammals and the livelihoods of local fishers.  

Illustration by Katie Arthur from Whale Man: The Story of Jon Lien, written by Robert Chafe

Jon Lien may have grown up in South Dakota, but it was there that he learned to connect with animals, something that ultimately would help him become known as the Whale Man. Curious, Jon watched and learned how animals behaved. After his university studies, he and his wife moved to Newfoundland where he taught at Memorial University. Jon's curiosity with his new home and its many creatures made him a bit of a novelty among the fishers of his community, but when he was called upon to help, he resolved to do so.

Illustration by Katie Arthur from Whale Man: The Story of Jon Lien, written by Robert Chafe

When a fisherman got a humpback whale caught in his net, he called upon Jon. Knowing the disaster this could be both for the whale, who might not survive, and for the fisherman whose livelihood was dependent on his nets being undamaged, Jon saw that both were fearful of the possible outcomes. Looking into the eye of the great animal, Jon recognized fear. Wearing a diving mask, Jon repeatedly stuck his head beneath the water to untangle the net, knot after knot.

Illustration by Katie Arthur from Whale Man: The Story of Jon Lien, written by Robert Chafe

His success with this whale rescue led to more rescues and the founding of the Whale Research Group at Memorial University, as well as helping others to rescue these creatures when the whales became trapped in nets.

 

The story of Jon Lien, the Whale Man, is an extraordinary one. It is especially poignant as Jon Lien became the Whale Man because of his compassion for animals and his curiosity about living things. His understanding of how the whale might be feeling as well as the fisherman helped him find a solution, albeit it one that was perilous to him. His courage to make things right and to help others do the same is the story that author Robert Chafe of Newfoundland tells. It is not one of audacious bravery or imprudence. It is one of curiosity and grace. It tells of a man whose actions were governed by his heart and his inquisitiveness. Robert Chafe tells Jon Lien's story as that of a man of decency, a man who did the right thing. He looked into the eye of a whale and saw the need for mercy, not enmity.

 

The illustrations by Katie Arthur of Nova Scotia impress upon the reader the magnitude of Jon Lien's connection with animals, whether it's a donkey or a whale. Katie Arthur's ability to focus on the man and his efforts while still conveying the vastness of the sea and its inhabitants is a fine balance of her artwork. Most important is the folk-art nature of her art, which blends several media to convey the nature of a Newfoundland landscape and culture. Katie Arthur makes us see the people, the sea, the animals, and the spirit of the Maritimes.

 

I was delighted to make the acquaintance of Jon Lien via Robert Chafe and Katie Arthur's story Whale Man. He was an exceptional man who learned compassion from connecting with animals, from farm animals to birds and finally to whales and other marine creatures, to the betterment of them and of us. 

The Sea We Call Home

Written by Dominique Demers

Illustrated by Gabrielle Grimard 

Pajama Press

978-1-772783674

36 pp.

Ages 4-8

April 2026 

 

Little Gnouf and Mirabelle are two Gnoufs—I don't know what they are but they're adorable—who are excited about going to the sea for the first time. But when they arrive, they spot a baby whale caught in a fishing net and stranded on the shore. 

Illustration by Gabrielle Grimard in The Sea We Call Home, written by Dominique Demers

Fortunately, Little Gnouf has been reading "The Big Book of the Sea," and the two friends know they need to return him to the water. And with his mother waiting off shore, they have a big job. With the help from a sand crab that cuts the ropes binding the baby whale, and some seagulls that help lift it to the sea, it is finally reunited with its mother. 

Illustration by Gabrielle Grimard in The Sea We Call Home, written by Dominique Demers

To add to their extraordinary day at sea, Little Gnouf and Mirabelle enjoy underwater sights that remind them that the sea is home to many amazing creatures.

 

While The Sea We Call Home is a picture book, Dominique Demers has used a story to share information about sperm whales, thereby installing it as a STEM resource too. Dominique Demers, whose books always include whimsical characters, first introduced her gnome-like Gnoufs in her French-language series Le petit Gnouf that includes titles Le Noël du petit Gnouf (2011) and La magie de l'hiver (2013). Now, with this English edition, new readers can learn about empathy, helping others, and kindness along with information about sperm whales from these charming characters.

Illustration by Gabrielle Grimard in The Sea We Call Home, written by Dominique Demers

Just as the French-language series is illustrated by award-winning artist Gabrielle Grimard—see my reviews of Melanie Florence's Stolen Words (2017) and Bahram Rahman's The Library Bus (2020)—so too is The Sea We Call Home. And Gabrielle Grimard brings the whimsy of Dominique Demers's Gnoufs and the colour and wonder of the sea with her artwork. Typically using watercolour, gouache, oil, and pencil, Gabrielle Grimard integrates subtlety with boldness to amalgamate the two story components: an environmental tragedy of a stranded baby sperm whale, and the marvel that is the sea. Her art, through colour and shape, makes us feel sadness and joy, concern and relief.

 

For learning about the sperm whale, you can head to the non-fiction section of a library. But for discovering more about the sea and its elements, including the sperm whale, while appreciating how kindness and empathy can help support the natural world, then The Sea We Call Home should be your choice.

Makade Asin / Black Stone

Written by Darcy Whitecrow and Cail Judy

Illustrated by Maya McKibbin

Translated by Waskonegabowiik / Pamela Johnson 

Groundwood Books

978-1-77946-015-8

32 pp.

Ages 3–8

August 2026

 

There is never one way to deal with fears. But Makade Asin / Black Stone is based on an Ojibwe story of dealing with fears through a vision quest. The text of the book is minimal, even when presented in two languages (Anishnaabemowin and English), with much told through the digital art of Maya McKibbin.

Illustration by Maya McKibbin from Makade Asin / Black Stone, 

written by Darcy Whitecrow and Cail Judy

When a child awakens from a nightmare, he goes to his grandfather, Mishoomis. Mishoomis comforts him and advises him to search for the black stone if he wants to stop being afraid.

...  when you do, your fears

will lose their power,

Ninoozhis. (pg. 8)

 

Illustration by Maya McKibbin from Makade Asin / Black Stone, 

written by Darcy Whitecrow and Cail Judy

His fears are many, including everything from being chased by a leopard, stepping into quicksand, having eyes watching him, falling from a boat, being attacked by a whale and a snake, and surviving the desert. But through the practice of a vision quest, always guided by the words of his Mishoomis, the boy faces all these fears and more. 

Illustration by Maya McKibbin from Makade Asin / Black Stone, 

written by Darcy Whitecrow and Cail Judy

In an appended note, translator Waskonegabowiik / Pamela Johnson, a member of Mitaanjigamiing First Nation, describes the vision quest as a cultural practice whereby the vision seeker goes out without food, water or warm clothing, and, in isolation, experiences dreams that take them back to the elders. And, although authors Darcy Whitecrow, a member of the Seine River First Nation,  and Cail Judy, tell of a boy facing his fears through a vision quest, this story could be for any person, child or adult, with fears. Just as the boy faces his fears and ends up being guided by them, we must all face them or be ruled by them. Whether there is a black stone to be found or just peace of mind will be determined by the nature of the person seeking solace.

 

As mentioned, even with the story in both Anishinaabemowin and English, the text of Makade Asin / Black Stone is sparse. As such, Maya McKibbin's digital illustrations have to convey much of the story. And she shows us the breadth of the boy's fears in the swirling masses of dark threats, toothed creatures, and alarmingly powerful waters. Her main illustrations speak to the formidable power of the boy's fears, using double-spreads and larger-than-life depictions to reveal their magnitude. Maya McKibbin also uses spotlight illustrations, bordered in a tight zigzag stitch similar to those used to keep fabric from fraying, to focus on the boy's personal experiences. From those borders to the colours of a dry desert or a raging storm on the water, Maya McKibbin gives a visceral experience to the boy's vision quest through her art.

 

Makade Asin / Black Stone has a deeply Indigenous perspective on tackling one's fears, but it's message of facing them and letting them guide us, along with some help from others, is one that transcends the Ojibwe culture and will speak to all.