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.

 

All the Water on Earth (CitizenKid)

Written by Rochelle Strauss

Illustrated by Madelyn Goodnight

Kids Can Press

978-1-525310881 

40 pp.

Ages 5–8

June 2026

 

Kids Can Press's CitizenKid series has brought world issues to the attention of young readers for over twenty years. The series is all about making children global citizens who are aware of how children live in other countries, of environmental issues, and of their own roles in making the world a better place. Because of scarcity, pollution, and waste, water is an important global issue, and All the Water on Earth focuses on its importance to life and in our lives.

Illustration by Madelyn Goodnight in All the Water on Earth, written by Rochelle Strauss

Using a picture book format, Rochelle Strauss tells the story of water: where it is, what it does and how it's used, why we need it, how it connects us, and what we can do to ensure that there is enough clean water for all. Her text is comprehensive and yet uncomplicated. Instead of loading her book with facts and maps, infographics and tables, Rochelle Strauss makes it into a story. It's the story of water: past, present and future.

Illustration by Madelyn Goodnight in All the Water on Earth, written by Rochelle Strauss

I love this format for bringing information through storytelling. Rochelle Strauss is an accomplished writer of non-fiction for the CitizenKid series (e.g., Tree of Life: The Incredible Biodiversity of Life on Earth, 2004; One Well: The Story of Water on Earth, 2007; The Global Ocean, 2022) and can tell a story in a multitude of ways. This picture book format is perfect for younger readers and will be a great introduction to water. (Additional references, including discussion questions, will help teachers direct science lessons on the topic.)

From All the Water on Earth, written by Rochelle Strauss, illustrated by Madelyn Goodnight

Because All the Water on Earth is told as a picture book, the illustrations are key. Oklahoma's Madelyn Goodnight, a member of the Chickasaw Nation, created the artwork with graphite, coloured pencils, watercolour paper, and digital painting software. She gives an innocence to the scenes of children playing by the water, in puddles, and on the ice. She also takes us to a well in Kenya, to farmlands and gardens, and to cities where water is used in industry, energy production, and more. The naturalness of her illustrations matches water's commonplace essence while still demonstrating the complexity of its nature.

Introduce young children to water in all its greatness with All the Water on Earth. They will learn and become aware of water's many capacities and forms, beyond what may come out of a tap or a water bottle. Perhaps with a new appreciation for water and our connections to it, young readers will become truer citizens concerning all the water on Earth.

I Will Not Walk to School

Written by Naseem Hrab
Illustrated by Kelly Collier

Kids Can Press

978-1-5253-1439-1
40 pages
Ages 3–7

May, 2026

 

School will be starting again soon and undoubtedly there are parents and guardians wondering how challenging it will be to get little ones to school. (Maybe not so little ones too.) Perhaps children are nervous about starting a new school or a new class, or maybe school has always been a challenge for them, whether academically or socially. But what if they like school?

Monster does not want to get out of bed in this illustration by Kelly Collier from I Will Not Walk to School, written by Naseem Hrab

We’ve seen collaborations between Governor General Award-winning writer Naseem Hrab and illustrator Kelly Collier (e.g., Otis & Peanut series, Snail and Stump series), but now we’ve got Monster, a little one, who doesn’t like going to school. It’s not school he hates—he actually loves school— but it’s the getting there that is the problem. But today is Pancake Breakfast Day and, with pepperoni pineapple pizza pancakes on offer, it may be enough to get him going. But Monster is a pro at delaying. Even prodded by Bird, it is unclear whether he will get to school to enjoy those tasty treats.

Monster tries delaying his walk to school in this illustration by Kelly Collier from I Will Not Walk to School, written by Naseem Hrab

With characters unlike any Naseem Hrab and Kelly Collier have created, I Will Not Walk to School understands every parent who has to get a child ready to go to school, to go to bed, or to do anything they don’t want to do. It’s about perseverance, patience, and prodding. Young readers will laugh at Monster’s antics, from not wanting to leave his stuffie Captain Donutface behind to the need for repeated potty breaks. Perhaps they’ll even be familiar with his strategies for avoidance or for delay. I Will Not Walk to School may not change their own behaviours, but they’ll get a chuckle, as will their parents, about how exasperating they can be, and how creative too, when attempts are made to coax a child, or monster, to do which they are reluctant to undertake. 

Mother Boo: Poems from Spookytown

Written by Vikki VanSickle

Illustrated by Jennica Lounsbury

Tundra Books

 978-1774886182

48 pp.

Ages 4–8

July, 2026 

 

Mother Boo may sound a little scary but she's really a friendly old ghost and the titular character in one of Vikki VanSickle's poems from October County and Spookytown. After a welcoming poem, "Welcome to October County," Vikki VanSickle shares 13 more poems about the fall season and the happenings that come with Halloween. 

The residents of Spookytown

are just like you or I.

They love a thrilling story —

or better yet, a rhyme. (pg. 5)

Illustration by Jennica Lounsbury from Mother Boo: Poems from Spookytown, written by Vikki VanSickle

In "Mother Boo," the ghostly grandmother-like spirit always seems to be around to help out, whether it's shutting a window from howling winds, blowing the clouds away on Halloween, or comforting a child. She's actually quite sweet and motherly.

Illustration by Jennica Lounsbury from Mother Boo: Poems from Spookytown, written by Vikki VanSickle

The other poems include, "The Secret to Flying," "Countdown to Halloween,""The Year in Moons," "Ugga Bugga Baby," and "Ghosts Go A-Spooking." None are frightening but all are entertaining, leaving readers and future Halloweeners smiling and wishing the holiday of trick-or-treating wasn't so far away in time.

Illustration by Jennica Lounsbury from Mother Boo: Poems from Spookytown, written by Vikki VanSickle

Vikki VanSickle could have emphasized the scarier aspects of this seasonal holiday, but she knows her audience. (Her earlier picture books, like How to Decorate a Christmas Tree [2023] and Teddy Bear of the Year [2020], can attest to this.) She gives them rhymes that carry them from parties and pumpkins, to ghosts and werewolves but without terror. Instead, young readers will imagine ghostly goings-on and things that might go bump in the night just like them. Vikki VanSickle even throws in a few poems that emphasize concepts like the alphabet and numbers, and varies her poetry to include limericks, an acrostic, and quatrains. I know Mother Boo: Poems from Spookytown will become a favourite read in October, but it will be incredibly useful for lessons for poetry units too. 

Illustration by Jennica Lounsbury from Mother Boo: Poems from Spookytown, written by Vikki VanSickle

With illustrations created by Hamilton's Jennica Lounsbury, Mother Boo: Poems from Spookytown keeps the holiday theme in content and colour, with only a smidgen of the creepy. Her characters are recognizable as ghosts or children in costumes, and she always gives them expressions that are placid or gleeful. Nothing to fear from these characters. Even Mother Boo is more grandmotherly than ghostly. And by using a limited palette of black and white with gray, and oranges, Jennica Lounsbury ensures that children will recognize Mother Boo: Poems from Spookytown as a book dedicated to Halloween.

Whether you wait until October—don't—or get Mother Boo: Poems from Spookytown now for some upbeat rhyming fun, this picture book will usher in some pumpkiny poetry and some spirited schooling that children will appreciate.

Pipa:m̓: The Touch of the Frog

 

 

 

Written by Joseph Dandurand

Illustrated by Elinor Atkins

Nightwood Editions

978-0-889715004

32 pp.

Ages 6–8

June 2026 

 

As part of his series Kwantlen Stories Then and Now, author Joseph Dandurand, himself a member of the Kwantlen First Nation, tells the story of a clever young girl who helps her community through her relationship with a frog.

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

The community is preparing for the first fish of the season. Fires are made and nets are mended. Tsa'kwi'ah is a small girl who tries to help but she is too small. After the men go out, Tsa'kwi'ah walks along the river and sees a green frog. She smiles at it and it at her. When she touches it, she becomes strong and tall. Now she can outrun the other children and she can carry heavy fish.

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

Months later, when many of the villagers, including Tsa'kwi'ah's mother, are sick with red spots and high fevers, Tsa'kwi'ah recalls how the green frog helped her. Taking the frog to her mother and everyone in the village who was sick, Tsa'kwi'ah has them touch the frog and become healed. 

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

It is known that there are naturally occurring antibiotics secreted from the skin of some frogs so the notion of the touch of a frog being therapeutic is not far-fetched. But, as in all storytelling, it's the germ of an idea that becomes a fuller story. As Pipa:m̓: The Touch of the Frog is told by a member of Kwantlen First Nation, I presume that this is traditional story that has been told many times and through many generations. Whether or not the details are exact—did Tsa'kwi'ah really become stronger and taller or just healthier and older?—is irrelevant. Joseph Dandurand tells the story about community, about healing from unusual sources, and about a connection with the natural world. It's about helping where and when you can, and finding your opportunities to be useful.  

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

Pipa:m̓: The Touch of the Frog is a deeply traditional story, so Elinor Atkins's artwork complements it with her brightly coloured illustrations that blend the traditional with the organic. Elinor Atkins, also a member of the Kwantlen First Nation, tells more about the story and the community, using line, shapes and colour to take readers to Tsa'kwi'ah's home.

Though Pipa:m̓: The Touch of the Frog  is the first of the Kwantlen Stories Then and Now that I have reviewed, there are four earlier books with more stories to tell. I encourage young readers and those who teach them to look at the whole series. As traditional stories, they keep the stories of a people alive and put to paper that which is usually shared through oral storytelling. 

 

 • • • • • • •

 

Kwantlen Stories Then and Now

The Sasquatch, the Fire and the Cedar Baskets (2020)

A Magical Sturgeon (2022)

The Girl Who Loved the Birds (2023)

The Bears and the Magic Masks (2024)

Pipa:m̓: The Touch of the Frog (2026)

Love, Panda

Written by Elaine Su

Illustrated by Charlene Chua

Orchard Books (An imprint of Scholastic)

978-1-5461-7958-0

32 pp.

Ages 4–8

July 2026 

 

Who wouldn't love to cuddle a super-squishy stuffie of a panda? Apparently Baby Lou does, but Panda, who has always been Benny's, is having none of it.

 

After Panda gets left in the baby's room, Baby Lou is smitten. But Panda, distressed by the unfamiliar, from diapers aplenty and the baby sucking on its ear, begins a letter campaign to get his original boy, Benny, to retrieve him. 

Illustration by Charlene Chua from Love, Panda, written by Elaine Su

In letter after letter, delivered by Dump Truck, Panda describes what he has had to endure—the elephant mobile, a lift-the-flap book, annoying parents who are thrilled with the baby's simplest efforts—and begs Benny to come and get him. But, with each new letter, Panda begins to appreciate Baby Lou and even recognize things familiar to his time with Benny. By learning Baby Lou's routines and finding the familiar, Panda finds it's not so bad after all.

Illustration by Charlene Chua from Love, Panda, written by Elaine Su

Elaine Su's bio speaks of her own favourite stuffie which has since been passed down to her own children. There's always one toy, especially a stuffed one, that is fondly remembered as bringing comfort. (Mine was a pink and green stuffed snake named Horace.) But, what happens when a child outgrows it, and another child covets it? In Love, Panda, the stuffie has something to say about that. Without realizing it, Panda's perspective changes. He learns to recognize that different isn't bad and that perseverance can help one transition from the scary and unknown to something unexpected good.

Illustration by Charlene Chua from Love, Panda, written by Elaine Su

Without Charlene Chua's digital art, Panda would never be so adorable and heartwarming. She gives him the textures and expressions of the sweetest of stuffies. His shape and cushiony appearance will remind young readers of Squishmallows toys, but his facial expressions, from his eyes and brows to his mouth, give us the full range of feelings. He's distressed, he's surprised, he's resigned, and he's joyous.

 

I know Panda is a stuffie and his dilemma—being unceremoniously adopted by a new child—will not be a familiar one to most children, but Love, Panda is a lesson in persevering through that which might seem unimaginably challenging. Perhaps, for children, it will attending a new school, accepting a new baby, or welcoming a new teacher when one goes on maternity. For children, different can be overwhelming. But with time and with the clarity that can come with getting thoughts down on paper, they can triumph. Panda did, and he's not even mobile.

2026 Sheila Barry Best Canadian Picture Book of the Year Award: Shortlist announced

Logo of the Vancouver Children's Literature Roundtable

The Vancouver Children's Roundtable (VCLR) is an organization that promotes Canadian children's literature with events, awards, and more. One of its awards is the Sheila Barry Best Canadian Picture Book of the Year Award which was first granted in 2021 and which was named for the late Sheila Barry, the esteemed Groundwood publisher and editor. The $2500 cash award is given to an English-language picture book written by a Canadian citizen or landed immigrant and published by a Canadian publisher. The winner will be announced in late August.

 

Here are the titles of exceptional picture books shortlisted for this year's Sheila Barry Best Canadian Picture Book of the Year Award: 

 

Head Full of Clouds

Written by Joanne Schwartz
Illustrated by Afsaneh Sanei
Tundra Books
978-1774881613
40 pp.
Ages 4–7

 2025

 

A Pond, a Poet, and Three Pests

Written by Caroline Adderson
Illustrated by Lauren Tamaki
Groundwood Books
978-1-773068930
32 pp.
Ages 3–7

2025

Reviewed here 

 

Little Shoes

Written by David A. Robertson
Illustrated by Maya McKibbin
Tundra Books
978-1-77488-172-9
48 pp.
Ages 3–7

2025 

Reviewed here

 

The One About the Blackbird 

Written by Melanie Florence
Illustrated by Matt James
Tundra Books
978-1-774882665
40 pp.
Ages 4–8

2025  

Reviewed here 

 

The Old Man, the Boy, and the Dog: An Inuit Retelling of an Aesop's Fable

Written by Kevin Kaukuarjuk Qamaniq-Mason 

Illustrated by Vienno (Vinicius Xavier)

Inhabit Media

978-1772276411 

28 pp.

Ages 6–8

June, 2026 

 

When Aesop wrote his fable titled "The Miller, His Son, and the Donkey," he wouldn't have been writing about a northern setting such as Nunavut, the home of author Kevin Kaukuarjuk Qamaniq-Mason (though perhaps more like the home of Brazilian illustrator Vienno). By adapting one of Aesop's fables to a northern landscape, Kevin Kaukuarjuk Qamaniq-Mason is able to teach an important moral lesson in a fresh and northernly way.

Illustration by Vienno from The Old Man, the Boy, and the Dog, written by Kevin Kaukuarjuk Qamaniq-Mason

Anguti is a boy who helps his grandfather, Ittuq, raise sled dogs. When Anguti's aunt needs a dog to help her with her work, they select one of their most promising sled dogs, hitch him to a small qamutiik (sled) and head off to deliver the animal.

Illustration by Vienno from The Old Man, the Boy, and the Dog, written by Kevin Kaukuarjuk Qamaniq-Mason

But, as proud as Anguti is of this strong and clever animal, he listens to others they pass who all have something to say. First, a man building an iglu questions why the dog isn't pulling anyone on the sled. When Anguti gets on the sled, two women comment that the older grandfather shouldn't be walking while Anguti sits. So, at Anguti's urging, his grandfather gets on the qamutiik instead. Of course, someone has another opinion about the dog and how much it can pull, and Anguti gives in again. His grandfather has some wise words about not being able to please everyone—“Grandson,” said Ittuq, “when you try to please everyone, you please no one.” (pg. 13)—which is a lesson his grandson learns too late.

Illustration by Vienno from The Old Man, the Boy, and the Dog, written by Kevin Kaukuarjuk Qamaniq-Mason

As with all Aesop's Fables, Kevin Kaukuarjuk Qamaniq-Mason wraps an important message in the story. It doesn't matter whether the story is told in Ancient Greece, in Nunavut, or in Toronto, because everyone knows how common it is to have others impose their opinions on us and for us to want to please them. Often we trust others before that which we already know to be true. (Anguti knew the dog was smart and strong but continued to feel the need to prove it to others.) But, by setting the story in Nunavut, Kevin Kaukuarjuk Qamaniq-Mason speaks to those children for whom the Arctic is home and familiarizes others with its landscape and its people. 

Illustration by Vienno from The Old Man, the Boy, and the Dog, written by Kevin Kaukuarjuk Qamaniq-Mason

Illustrator Vienno (a.k.a. Vinicius Xavier) puts the reader directly into that wintery landscape of snow and cold. But, even more so, he puts us into an Indigenous community where a man uses a pana (snow knife) to build an iglu, where a girl dries fish, and where boys chip ice for drinking water. These are people who are just going about their day, and Vienno's bright art helps the reader feel part of it.

 

With a timeless lesson about trusting your own judgement and disregarding opinions that may be harmful, The Old Man, the Boy, and the Dog respects the classic while giving it new life with a northern setting, with an Indigenous community, and with a handsome dog that will captivate children.

 

The Scariest House on the Street

Written by Joel A. Sutherland

Illustrated by Terry Pearson

North Winds Press (Scholastic Canada)

978-1-0397-1917-0

32 pp.

Ages 3–8

July 2026 

Author Joel A. Sutherland is known for scary. He has written the Haunted Canada series, the Haunted Canada Graphic Novel series (e.g., Haunted Canada Graphic Novel: Four More Terrifying Tales, 2025), titles in the Haunted series like Field of Screams (2020), and his standalone stories like Summer's End (2024) and Screamers (2022). He delights middle-grade readers and teens with stories that frighten, twist, and terrorize. Joel A. Sutherland is our Canadian version of R. L. Stine. And now he's ready to amuse our youngest readers with a story of monsters that will entertain without frightening.

From The Scariest House on the Street, written by Joel A. Sutherland, illustrated by Terry Pearson

Monsters Willow and her friends Violet, Harry, and Gill love playing at the abandoned house at the end of Shivers Street. But they are aghast when someone moves in and cleans up the place. There are no spiderweb anymore, or rats, or holes. And it smells lemony fresh. 

It was much scarier than Willow could have imagined. (pg. 9)

From The Scariest House on the Street, written by Joel A. Sutherland, illustrated by Terry Pearson

They imagine who might have moved in. Could it be gnomes, or zombies, or perhaps a sasquatch? When they're invited to a Halloween Party at 13 Shivers Street and compelled to go—parents can be so unrelenting—they dress up in their most terrifying costumes, and head out to meet Bronwen, a bubbly swamp creature, a tiny vampire named Fiona, and a werewolf named Charles. But it is Halloween. And our monsters and their new neighbours may be surprised to learn they are not what the other expected.

From The Scariest House on the Street, written by Joel A. Sutherland, illustrated by Terry Pearson

In a story about the scariest house on the street, Joel A. Sutherland won't scare little ones as much as amuse them with a story about monsters who think dressing as a doctor, astronaut, business person, and fisherman is scary. What will be funny to those readers will be monsters frightened of humans and vice versa, sort of. Without telling kids to accept others who might be different, Joel A. Sutherland twists their perceptions about those who are different—reminds me a lot of Frederic Brown's 1954 short story, Sentry—and shows them finding interest in their differences. Differences give richness to a community, and the new neighbours on Shivers Street definitely give it life. (Pun intended.) 

This is Joel A. Sutherland's first picture book, and he sets the tone perfect for young children. Nothing scary, lots to charm, and a story with an understated message about acceptance of those who are different. That same aspect comes through Terry Pearson's digital illustrations which give us not-so-scary monsters, a Halloween party of epic games and food, and characters that are colourful, a little naive, and sweetly distinct. Kids will definitely want to try to emulate those costumes and that party this Halloween, and, with Terry Pearson's artwork, they'll have all the visuals needed to pull them off.

From The Scariest House on the Street, written by Joel A. Sutherland, illustrated by Terry Pearson

I know it's a little early to be thinking about Halloween but, for many kids, the anticipation is part of the fun. Bring them some hilarity early with ideas for that holiday from The Scariest House on the Street and with a story that will remind them to see past differences and find the authentic, human or monster.