Sarabeth's Garage

Written by Melanie Florence

Illustrated by Nadia Alam

Tundra Books

978-1-774885956

40 pp.

Ages 3–7

February, 2026

 

Sarabeth loves cars. She loves everything about them, from their tires and motors to their carburetors, and engines. She loves the way they look, how they move, and the sounds they make. Her family knows how much she loves being around cars and spending time at her dad's garage. Well, almost all of them understand. Sarabeth's grandmother doesn't. She shakes her head and cringes, telling her what girls should do and what boys do.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

But Sarabeth doesn't let it bother her. She puts on her blue coveralls with her name stitched on the pocket and helps her dad with oil changes, with fixing flat tires, and by replacing fan belts and spark plugs. And when she gets home, she has to scrub her nails and hands, though some of the grease never goes away. Sadly, her grandmother has something to say about that too.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

However, when Grandma is leaving, her car sounds terrible, and it belches out smoke. Sarabeth gets to work, and this time when her grandmother tells her, "In my day, little girls didn't know how to fix cars" (pg. 33), Sarabeth has a polite but confident reply 

 

I like to think that we've moved on significantly from those days of telling girls and boys and everyone in between what they can and cannot do. When we impose expectations on people that they either can't or choose not to meet, there is disappointment and even conflict. As a child, Sarabeth doesn't deserve to have her dreams of working on cars negated. It actually wasn't even a dream. She was doing it and doing it well and with confidence and joy. Thankfully Melanie Florence makes Sarabeth a strong character who knows herself and has the support of most of her family. She doesn't let her grandmother take away her passion. And by letting young readers see a child interested in tinkering and making, Melanie Florence supports children, and particularly girls, participating in STEM activities.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

I may have shared an anecdote from my teaching career but let me tell it again. I remember a girl in Grade 5 telling me that she couldn't do science, and it just about broke my heart. But it also disappointed me that someone had told her that she was incapable of something. I delighted in proving that person wrong. I'm pleased that Sarabeth knew what she wanted to do, and at such a young age. Her passions may change over time, but, as long as she is true to herself, it will be fine.

 

I believe this is the first book illustrated by Toronto artist Nadia Alam that I have reviewed, though she has contributed the artwork for a number of picture books. Her art, rendered in pencil and Photoshop, has a lighthearted edge to it. It is colourful and playful, but it is also thoughtful and revealing. Nadia Alam uses great detail to give Sarabeth's activity an atmosphere of work and interest, while using expressive lines to depict Grandma's displeasure and Sarabeth's parents' support for their child and patience with Grandma's narrow-mindedness.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

I know that many readers may read Sarabeth's Garage as a far lighter story than some of Melanie Florence's other award-winning books (e.g., Missing Nimâmâ, 2015, and Stolen Words, 2017). But Sarabeth's Garage has an important message in its own right, reminding children to forget those who say what you should do or what you should like or what you should be. If you're not hurting anyone and you're following your passion, do and like and be what you want. Sarabeth did.

The Salt Princess (Everlasting Tales #2)

Retold and illustrated by Anoosha Syed

Translated by Humera Syed

Harper (HarperCollins)

978-0-06-332471-8

40 pp.

Ages 4-8

April 2025 

 

Folktales tell us a lot about a culture and people, yet many have commonalities across cultures and people. The Salt Princess, a story which Anoosha Syed humbly presents as a retelling, but illustrated by her, is one such folktale from Pakistan, told with a unique flair with the message that true happiness comes from being one's self.

From The Salt Princess, retold and illustrated by Anoosha Syed

In the Kingdom of Zammartud, the king had four daughters. Though her older sisters were "as lovely and bright" as their father hoped of his daughters, Amal was less so. Princess Amal loved pranks and making her sisters laugh. But, when her father asked his daughters how they loved him, her sisters compared their love for him to sweets like sugar, honey and sherbet. However, he is not pleased with Princess Amal's answer: "I love you like salt."

From The Salt Princess, retold and illustrated by Anoosha Syed

In a rage at comparing him to something as common as salt, the king banishes Princess Amal. She knows she had misspoken but now she is alone in the woods.

From The Salt Princess, retold and illustrated by Anoosha Syed

She is rescued by Prince Arsalan who hears her story and takes her to his kingdom. He appreciates her spirit and humour and, after a year had passed, he asks her to marry him. But that proposal reminds Amal of the absence of her family and the riff with her father. Being the clever woman she is, Amal devises a plan.

 

Prince Arsalan invites the king to a banquet where he is treated to countless sweet treats. Soon enough he realizes he would appreciate something other than desserts but even those dishes are lacking in flavour. It is only when a cloaked Amal gives him a humble farmer's dish of spinach seasoned with salt that his palate is satisfied. With that, Amal reveals herself and explains her love for him is as pure and valuable as the salt in that dish.

From The Salt Princess, retold and illustrated by Anoosha Syed

The tale in The Salt Princess will seem familiar with other stories in which a child is banished by a father who does not appreciate their self-expression. That parent has to come to realize the virtue and originality of being an individual and to look beyond the obvious. In her retelling, Anoosha Syed, a Pakistani Canadian artist, gives life to a tale she'd heard as a child and blankets it in the colour and culture of her heritage.

 

The story is told in words but also through the glow of Anoosha Syed's artwork. The illustrations begin bright and colourful, playful like Amal's mischievous pranks and spirited nature. But, as her story progresses, taking her into a forest, beautiful as it is, it becomes dark and foreboding. Then when she meets the prince, the artwork becomes comforting in tones of pinks and turquoise. And throughout the story, the artwork is rich in details in both the lushness of the shapes and vibrancy of its colours.

 

As with all folktales which entertain while teaching, The Salt Princess reminds us that perceptions of others may be misconstrued and inappropriately compel us to fit in by being untrue to ourselves. Thankfully, Princess Amal is a clever woman and true to herself and finds a way to prove to her father that her love for him is just as true, even if different.

Nevin Knows

Written by Mireille Messier

Illustrated by Elena Comte

Orca Book Publishers

978-1-4598-3684-6

32 pp.

Ages 3-5

February 2025 

 

What does Nevin know? He knows what he wants. 

From Nevin Knows, written by Mireille Messier, illustrated by Elena Comte

Nevin may not have a lot of words in his vocabulary yet–he is but a toddler–but he's pretty clear how to say "No" and "Yes" and he knows when to use them. When he and his Grandpa Frank are getting ready to visit the park, Grandpa Frank asks Nevin what he wants to wear. He gives his grandson choices, some of which are quite silly, and Nevin makes it clear which is the best choice for him. He may not realize it, but Grandpa Frank is giving the child the opportunity to be part of the process rather than just making him do what his caregivers are going to do anyways. (The sneakers were always the best choice, as was the ball cap.)

From Nevin Knows, written by Mireille Messier, illustrated by Elena Comte

Even as they start heading out, Grandpa Frank asks Nevin which way to go. (I'm sure Grandpa Frank knows but by giving Nevin the opportunity to voice his choices, the child is amused and given power.)

From Nevin Knows, written by Mireille Messier, illustrated by Elena Comte

Nevin knows his favourite places to play and how much he likes greeting the birds and a dog, and even which flowers to pick for Nana. (Thankfully he doesn't want the planted flowers but rather the dandelions.)

From Nevin Knows, written by Mireille Messier, illustrated by Elena Comte

The whole point of Nevin Knows is how a grandfather allows his grandson to make choices that empower him, even if Grandpa Frank has known all along what they would be doing and where they would be going. It's a kind and compassionate grandparent who can ask rather than always be telling a child what's going to happen. I suspect that even if Nevin chose something inappropriate, Grandpa Frank would turn it around to ensure that it was a good choice but one that Nevin made himself. Mireille Messier, who has written numerous picture books in both English and French (e.g., The Magic Cap, Nutcracker Night, and Fatima and the Clementine Thieves just to name a few), easily gets into the head of a young child and what they want and to thrive, and into the shoes of those fun and kind grandparents who care for their grandchildren without being authoritarian. Mireille Messier demonstrates that young children, even those with limited vocabularies, can share their feelings and needs if there are only those who would ask and listen.

 

Elena Comte, a Montreal illustrator and nurse, created the artwork for Nevin Knows digitally, emphasizing the shapes and colours that would appeal to very young children. But more than that, she creates scenes that emphasize the elements would be most important to children: dandelions, birds, swings, a playground spring rider, grass, and those they love. 

Both Mireille Messier and Elena Comte make sure that this book truly is about Nevin. There may be caregivers who supervise and protect him, but Nevin is given the capacity to make choices. With that gift of empowerment, even in allowing him to make the simplest of choices, his grandfather bolsters his little grandson and provides him with opportunities for building his confidence and his voice, and for strengthening their relationship. How lovely is that?

We Need Everyone

Written by Michael Redhead Champagne

Illustrated by Tiff Bartel

HighWater Press

978-1-77492-011-4

40 pp.

Ages 6-8

January 2024

 

Belonging is such an important emotional need for children and for all. But too often we compare ourselves with others and see their gifts and accomplishments as greater than our own, worrying that we don't belong or aren't good enough. Community advocate Michael Redhead Champagne will help children see that they all belong because we need everyone.

From We Need Everyone, written by Michael Redhead Champagne, illustrated by Tiff Bartel

We Need Everyone's book character Michael, easily recognizable by his bouncy asymmetrical hair, speaks to everyone about gifts. 

Gifts are skills and talents we share with others. Every gift is different, and every gift is special.

For many children, recognizing their own gifts may be a challenge, so Michael takes them through a series of steps to finding their gifts. These include making lists of what they like to do as well as what they are good at doing. If they have difficulties identifying those, they can always ask for help. Then it comes down to practising those gifts.

From We Need Everyone, written by Michael Redhead Champagne, illustrated by Tiff Bartel

But there is more to having a gift if we are to share them and build strong communities. Michael Redhead Champagne equates building community with activism and speaks of all those who help make our communities richer: artists, athletes, chefs, gamers, storytellers, and friends.

When you share your gift, you give strength to others. Even if you feel too small, too young, or too quiet, your gift is too special to keep to yourself.

Michael Redhill Champagne speaks from a place of knowing. He is Ininew (Cree), having been raised in Winnipeg's North End with his family from Shamattawa First Nation in northern Manitoba.  He knows what it means to belong to a community and to make a community. He shares his inspiration through public speaking and writing, hosting media events and telling of stories. We Need Everyone, his debut picture book, continues his message of empowerment and influence by helping kids see that they all have superpowers that are their gifts, and that these gifts, though not always easily identifiable, are what will help make our communities stronger. 

From We Need Everyone, written by Michael Redhead Champagne, illustrated by Tiff Bartel

Winnipeg artist Tiff Bartel ensures that the illustrations in We Need Everyone reflect Michael Redhill Champagne's message that everyone is needed. She includes children of all skin colours, sizes, and abilities. She shows a girl in a hijab cooking, children gardening, a child playing sledge hockey, another signing "I love you" and others painting. Some are active, some are quiet, some are sharing their cultures, and many are learning. And they are engaged joyously and vibrantly in ways to enrich their communities and acknowledge their own gifts.

We need everyone, and by sharing their gifts of storytelling and art, Michael Redhead Champagne and Tiff Bartel will give children strength and inspiration to see themselves as needed and belonging too.

 • • • • • • •

A free teacher's guide, titled Teacher Guide for We Need Everyone:
Empowering Students to be Active Community Members Through Indigenous Perspectives in Primary Classrooms and Beyond  is available from HighWater Press (Portage & Main Press) here.

Forever Truffle

Three Stories by Fanny Britt

Illustrated by Isabelle Arsenault

Translated by Susan Ouriou

Groundwood Books

978-1-77306-070-5

114 pp.

Ages 7-10

August 2022

 

In three stories, Fanny Britt introduces young readers to Truffle, a young red-haired wonder who adores music, falls in love and learns about figures of speech, and contemplates life in a very big and beautiful way. He is Forever Truffle, and occasionally Truffleletto.

From Forever Truffle by Fanny Britt, illus. by Isabelle Arsenault

In the first story, Truffle The Rock Star, Truffle explores his love of music. From childhood and listening to everything from Verdi to Joan Jett, the Beatles and Led Zeppelin, it's obvious that Truffle is a lover of music, especially rock, and he's thrilled when he gets a biker jacket for a birthday gift. Determined to be a rocker, Truffle gets together with best friends Flo and Riad to conceptualize their own rock band.

From Forever Truffle by Fanny Britt, illus. by Isabelle Arsenault

In the second story, Truffle Loves Nina, Truffle has fallen for little Nina. However, ever since he's asked her to be his girlfriend, he can't speak to her. When his father suggests he let his heart do the talking, Truffle tries to understand that figure of speech and many others so that he might express his love to Nina. 

From Forever Truffle by Fanny Britt, illus. by Isabelle Arsenault

The final story, Truffle Tackles Existence, has Truffle asking big questions when attending the funeral of his great-grandma Sybile. The visit brings up Truffle's thoughts on his parents' divorce, including his hope for reconciliation; on his love of dogs and missing their pup Rocket; and about growing old and dying. He's thoughtful and observant, kind and forever Truffle. 

Montreal's Fanny Britt does not do frivolous or cute but she does do real and that's what and who Truffle is. He's a real child who dreams and wishes and imagines, as well as loves, hopes and reflects. And he's got lots to think about, from his divorced parents, to his older brother, his loves and his good friends, to his aspirations and his life. His naiveté is authentic, not silly, and allows his inquisitive nature to learn lessons that all children will learn some time in their lives, some earlier, some later. 

Artist Isabelle Arsenault complements Fanny Britt's text, so expertly translated by Calgary's Susan Ouriou, with illustrations that emulate that sensibility of the story.  The artwork, rendered in pencil, ink and collage, are low key, tempered in doleful tones with splashes of yellow and orange and turquoise. After all, life is not all bright colours, bold in spirit and brash in tones. It's often just a plodding along of trying to understand and manage and find some brightness whenever and wherever possible. 

From Forever Truffle by Fanny Britt, illus. by Isabelle Arsenault

The collaboration between Fanny Britt and Isabelle Arsenault, as in Louis Undercover and Jane, the Fox and Me, has always been a powerful but subtle one of compelling stories of authenticity, told in words and pictures that depict children as they live. The complexity of their lives and their understandings are evident though not belaboured. Forever Truffle will forever be such a story.

Be You!

Written and illustrated by Peter H. Reynolds

Orchard Books (An imprint of Scholastic)

978-1-338-57231-5

32 pp.

Ages 4-8

March 2020

With words and art, Peter H. Reynolds is an inspiration of compassion, self-acceptance and living a good life well. In Be You!, which opens with a dedication to Stephanie Germanotta, the song queen of being yourself, Peter H. Reynolds will touch young readers with the positive message to be their best selves.

From Be You! by Peter H. Reynolds

My wish for you –
no matter where your journey leads –
is for you to always...
Be YOU!

In a series of simple directives, Peter H. Reynolds implores the reader to Be ready...to take that next step toward being an amazing human being and to be curious, adventurous, connected, persistent, different, kind and understanding, and brave. He encourages and empowers and accepts that everyone needs different things at different times. It could mean spending time alone, or asking for help, or being patient, because good things take time. 

From Be You! by Peter H. Reynolds

With that openness to possibilities and self-acceptance, he assures that there will be love and you've got this one.

You are ready.
So...go ahead. BE YOU.
Be very, very YOU!

I know that Be You! is a children's picture book but it's actually an empowering and meaningful self-help book for all. Peter H. Reynolds reminds us to be hopeful and accepting of ourselves, knowing that, with time and effort and affirmation, being oneself is pretty good. His illustrations, which rely heavily on watercolours, gouache and ink (though I've read he will use tea and other liquids too!), are emboldening in their colours and line. Life is not for the faint of heart and Be You!'s illustrations remind us to be present and live boldly, even if quietly sometimes. Reading his books–I have reviewed Happy Dreamer (2017), The Word Collector (2018) and Say Something! (2018) here–have always touched me with their compelling but simple messages of goodness. For anyone who needs reminders that it's good to just be yourself and be hopeful of the outcomes, Be You! does that.

From Be You! by Peter H. Reynolds

Finding Lucy

Written and illustrated by Eugenie Fernandes

Pajama Press

978-1-77278-088-8

32 pp.

Ages 4-7

October 2019

Lucy is a joyful artist. She paints with bold colours and emotion and a brush full of voice that brings her and her cat great joy. But when others begin to opine about her work and advise her about her painting, that comfort turns to turmoil as she attempts to heed their unsolicited advice.

From Finding Lucy by Eugenie Fernandes

In her raggedy and patched pants, bright yellow tee and paint-splattered apron, with ginger pigtails bursting from the top of her head, Lucy is happy. She paints from her heart. But, then a rabbit reporter tells her that her artwork looks like jellybean soup. An elephant tells her it isn't loud enough. A crocodile tells her it isn't scrumptious enough.

From Finding Lucy by Eugenie Fernandes

When Lucy starts painting for herself again, "the painting was like a dream." But then she starts listening again to those who call her work out as not brave enough (that from a chicken) or not pink enough (that from a mother pig) or in need of more green (a frog shared that with her).

From Finding Lucy by Eugenie Fernandes

By now, Lucy was beginning to see that everybody had something to say.

It would seem that a variety of animals–giraffe, leopard, ostrich, fox and others–all confound her and her creativity. Only the cat reminds her to paint what once brought her joy.

She painted the flutter of birds and the whimsy of the wind.

Ultimately Lucy rediscovers her true art and accepts it as an expression of self, not the means for the approval of others.

From Finding Lucy by Eugenie Fernandes

And ever after, after that,
the cat purred,
and Lucy painted with grit
and determination
and GUMPTION
and PIZZAZZ.

And the courage of spring
and the color of laughter.

I don't know if Lucy is supposed to honour a famous artist or a piece of abstract expressionist art but I don't think it matters. Eugenie Fernandes has given us a story in words and pictures that supports that idea that creativity is an expression of self and needs to be embraced rather than questioned, especially when every armchair critic feels the need to voice their personal preferences and expects the artist to accommodate those. From colour to feeling, shape and voice, creativity comes from within and Lucy knew and knows this. Sadly she is distracted by those with loud and overbearing opinions and buckles under their varied and judgemental assertions.

I hope Eugenie Fernandes, whose art work has won her a variety of awards and accolades, has always felt supported in her artistic endeavours whether she chooses to use acrylic paint on canvas as she does here in Finding Lucy or other media. If Finding Lucy demonstrates anything it's that those who observe art derive their perceptions from their perspective and attitudes and Lucy can't possibly give every viewer what they need to see the art's beauty. I'm glad that she finally trusts herself, and her very wise cat, that what she brings to her art is everything it needs to be to bring her joy.

From Finding Lucy by Eugenie Fernandes

The Stone Rainbow

Written by Liane Shaw

Second Story Press

978-1-77260-108-4

272 pp.

Ages 13-18

September 2019

Liane Shaw introduced her characters Ryan and Jack to YA audiences in her novel Caterpillars Can't Swim (Second Story Press, 2017), telling the origin story of their accidental friendship and Jack's acceptance of his sexuality. Though only a handful of others in his life, including his mom, Ryan's mom. Ryan's friend Cody and Jack's counselor Matthew, know that Jack is gay, he has capitulated that expressing that sexuality in the small town of Thompson Mills is unlikely.

This town is so small that being different usually means you're flying solo. (pg. 61)

In The Stone Rainbow, Jack meets the new guy at school, Benjamin Lee, and Jack is smitten. The new vice-principal's son is beautiful and kind and Jack doesn't know what to do. He's used to hiding in his "caterpillar camouflage" (pg. 8) and now the idea of putting himself out there, expressing his interest in anyone, especially a young man who may or may not reciprocate that interest, is terrifying.  Staying a caterpillar, on the other hand, is familiar, even if stifling.

Benjamin, on the other hand, is not willing to stay in the closet. When they are assigned an art project that reflects something of social and personal significance, he creates a massive rainbow of coloured stones on plywood. He honours and celebrates the LGBTQ+ community with the myriad of messages on the stones that reflect the rainbow's symbolism. Though Benjamin is pretty much out, his art project rouses all the nastiness that Jack had already witnessed in his town. But when Benjamin is attacked, Jack decides to focus on something positive that might help Benjamin as well: a Pride parade. Fortunately, Jack discovers that there's a whole lot more support for him and Benjamin and a Pride event than he could ever have imagined.

Though The Stone Rainbow is a story of acceptance of self and others, it is also a tragic story that depicts the reality for those who may be perceived as different. There is violence and hate and masks. Jack knows what it is to come out–as he did to his mother in Caterpillars Can't Swim–so he still feels compelled to hide his sexuality from his peers and others, fearing their reactions, and shielding his true self and expression of that self. Even with supports from Ryan and others, it's not until Jack meets Benjamin that he is able to shed that chrysalis to reveal the butterfly he was meant to be. It is both "terrifying and wonderful" (pg. 239) and Jack recognizes he "could be as beautiful as I want to be because no one cares if a butterfly is a boy or a girl. It's just a pretty part of nature that everyone accepts." (pg. 242)

With her diverse cast of characters, Liane Shaw demonstrates that differences make a community richer, though there are the unenlightened who still need to learn this lesson in compassion and tolerance. If The Stone Rainbow teaches us anything it's that it's the blending of all into a spectacular prism of life that makes our world complete and beautiful.

If everyone just decides to treat everyone else with kindness, it all goes away. Intolerance, disrespect, racism, homophobia, misogyny, bullying, and all the other horrible words we've had to invent to find a way to label the endless crap people seem to feel the need to throw at each other...all wiped out by one simple command. Be kind. (pg. 214)

Ping

Written and illustrated by Ani Castillo

Little, Brown Books for Young Readers

978-0-316-42464-6

48 pp.

Ages 4-8

September, 2019 

Ping is both subtly complex and powerfully simple in its message about communication and connecting with others. It says loads about how to do it, when to do it, and the need to accept how others return that communication. Like the game of ping-pong–the premise upon which the story is based–there is a give and take between communicants that must be respected to ensure successful connections are made.

My friend,

in this life...

...we can only PING.

The PONG belongs to the other.

From Ping by Ani Castillo

Ani Castillo highlights the multitude of ways you can Ping (note that the verb "Ping" is always capitalized). It can include using your voice or painting or using a computer. It can be with small or large gestures, and you can Ping to one or many. But it's the approaches to Pinging that are most impressive. With many adverbs, Ani Castillo recommends Pinging freely, generously, wisely, kindly, persistently, hopefully, and mindfully. However, even with those intentions, you must still wait for the Pong and accept it as given. It may come as expected or not but it will be the basis for new connections regardless.

From Ping by Ani Castillo

Best known for her cartooning, Ani Castillo's illustrations of amorphous characters in Ping will be relatable to all children. They're cute but unrecognizable and could be any person reading this book. But, with Ping, her debut picture book, Ani Castillo has found a voice that communicates with heart as well as art. She helps us see the importance of self-expression but always with thoughtful intent and consideration for the recipients of that expression. In a world of social media and the constant airing of opinions, we need to follow the sage advice that Pinging requires wisdom and responsibility. Regardless of the reciprocating Pong, we must Ping with humanity.  Shouldn't this always be the way with communication?

From Ping by Ani Castillo

Ping is about thoughtful discussion and that is exactly what it will inspire: conversations about how we communicate and how we should. It is learning and teaching in one, all with tenderness and understanding for our need to connect with others and how to do it effectively and with compassion.

Sadia

Written by Colleen Nelson

Dundurn

978-1-45974-029-7

240 pp.

Ages 12+

February 2018

As I passed the classroom door, I caught sight of myself in the small pane of glass.  Was it the hijab that Mariam was running away from?  Seeing me must remind her of who she really was, who she'd always be.  I wished she'd realize that taking off her hijab wasn't going to change that. (pg. 82)

For Sadia's friend Mariam, de-jabbing i.e., removal of her hijab when at school and changing into more revealing clothes improper for a Muslim girl are the means to fit in and become recognized by athletic classmate Josh.  While Sadia would never contemplate doing the same, she tries to understand her friend's need to shed her headscarf and appreciate her perspective on being a Muslim girl in a Winnipeg high school.  And perspective is everything she and her classmates realize after their teacher—and also basketball coach—Mr. Letner gives them an assignment based on the premise of "If you give a kid a camera."  While Sadia and her classmates begin to take photos of their lives, they reveal much about what they experience at home and at school including family challenges, hidden passions and friendships lost and found.

While she undertakes her project, which evolves to include a passion project to help newly-arrived refugees, Sadia grapples with Mariam's de-jabbing and drive to fit in which becomes more complicated after Sadia is chosen for the school's All City Pre-Season Co-ed Basketball Team on which Josh plays.  Sadia is thrilled to be playing the game that her brother taught her and accepts the accommodations she must make to play–changing in private, covering up far more than her teammates, and wearing her hijab–but being on the team causes more friction with Mariam, especially after Josh's attentions are directed towards Sadia.  It all comes to a climax at the tournament when Sadia's hijab becomes a mobilizing force for family, friends, teammates and strangers.

Sadia addresses Sadia's honest acceptance of her Muslim culture but also how she finds the means to meld it with her love for basketball, rather than abandon one passion for another.  Sadia's self-acceptance is mature and extraordinary and she would be an impressive role model for Muslim girls trying to find their own way.  Without being deceptive or disingenuous, Sadia helps new Muslim girl Amira prepare for her new life in Canada and show Mariam that it is possible to be a practising Muslim and have fun.  Just like the photography assignment Mr. Letner gives his class, it is all about point of view.

Author Colleen Nelson continues to ramp up her writing, developing characters with whom all readers can identify.  From those dealing with bullying, guilt and grief (The Fall, 2013), or abandonment and discrimination (250 Hours, 2015), or with sexual abuse and drug addiction (Finding Hope, 2016) and poverty and violence (Blood Brothers, 2017), Colleen Nelson pens real characters whose decisions propel them into life-changing situations.  For the first time, Colleen Nelson has given Muslim girls a role model, a girl who recognizes that she has been accorded much attention and discrimination because of how others perceive her hijab, often incorrectly, but who appreciates what being a Muslim means and accepts those cultural traditions as the basis for whom she is.  Sadia does not struggle with wearing the hijab, as does her friend Mariam, but when thrust into the limelight where wearing the hijab might prevent her from playing basketball, she considers with great thought and insight what it means to continue wearing it.  Still she stays true to herself, empowered, not restricted, by her hijab or being Muslim.  For her, de-jabbing would be negating her true self, just as not playing basketball would.  In Sadia, being yourself is better than having it all and being Muslim is in itself empowering.

🏀🏀🏀🏀🏀🏀

Check back tomorrow for Colleen Nelson's guest blog post titled "5 Things You Didn't Know about Sadia" and upcoming blog tour stops at Lost in a Great Book, MG Book Village and Dundurn Press.

I Love My Purse

Written by Belle DeMont

Illustrated by Sonja Wimmer

Annick Press

978-1-55451-954-5

36 pp.

Ages 5-8

September 2017

Children will be picking out their first-day-of-school clothes soon.  They'll be looking for clothes and accessories that make them feel good and look good but they'll also be thinking about how others will see them.  Charlie, the boy in I Love My Purse, is familiar with this process.  When he looks up at his sky-high (he stands on 4 chairs and 5 pillows and 4 books to reach the top) closet which is a colourful menagerie of clothes, footwear and more, he sees "nothing he liked.  Nothing except the bright red purse that his grandma had let him have." Until now, he'd only worn it viewing himself in the mirror.

From I Love My Purse 

by Belle DeMont 

illus. by Sonja Wimmer

When his hipster dad sees him, he questions why his son is wearing a purse.  Honestly, Charlie tells him, "'Cause I want to." Of course his dad's initial response is to tell him that boys do not carry purses and that one can't always wear what they love, like him and his Hawaiian shirts, inappropriate for his suit and tie workplace.  At school, his classmate Charlotte questions him similarly, declaring that, although she loves face paint, she can't come to school wearing it.  Charlie replicates his response: "'Cause I want to" and "Because I love my purse."  He is polite enough, however, to offer that maybe he'd go along with their suggestions of a backpack the next day.

This continues when a group of older boys led by Sam approaches Charlie in the school cafeteria.  Sam's response is about wishing he could eat actual food rather than the slop served up at school but he can't very well march into the kitchen and start cooking. The crossing guard's feedback is perhaps the warmest.

"Well, I love it!" said the crossing guard.  "Have I ever told you about my favorite sparkly shoes?"

From I Love My Purse 

by Belle DeMont 

illus. by Sonja Wimmer

The next day, everyone who'd questioned him the day before has relaxed their stance, showing a hint of their own preferences, though still somewhat shy.  It's not until the third day that his father is wearing his Hawaiian shirt, Charlotte has her face painted like a tiger, and Sam's cooking risotto.  And the crossing guard?  He's wearing his sparkly shoes that send Charlie on another foray into proclaiming his individuality.

From I Love My Purse 

by Belle DeMont 

illus. by Sonja Wimmer

Nova Scotian writer Belle DeMont and German illustrator Sonja Wimmer (whose art you might recognize from Mahtab Narsimhan's Looking for Lord Ganesh, 2016) give a jazzy feel to the text and illustrations.  Perhaps it's the fluidity of the art and the prose, or maybe it's Charlie's "cool cat" attitude.  From the swinging purse to the pliable characters (both in body and disposition), Belle DeMont and Sonja Wimmer have given us a wonderful story about self-expression.

Charlie may love that bright red purse but I love Charlie for his refreshing and honest appreciation for  that tote that others question, ridicule and even condemn him for carrying.  For Charlie, carrying that purse is nothing abnormal, it's just something he does.  It's sweet, it's honest and it's Charlie.  And it should be all of us.  The message of I Love My Purse is about fulfilling a need for self-expression in dress or action and it's paramount.  Forget the stereotyping that tells us a boy carrying a purse is inappropriate. Haven't we gone beyond that narrow-minded thinking?  Charlie has.  Let's all embrace our inner Charlie and bear our purses proudly, regardless of gender.