The Mountain That Wouldn't Move

Written and illustrated by Sandra Dumais

Owlkids Books

978-1-77147-649-2

32 pp.

Ages 4-7

April 2026 

 

Ah, perspective is everything. And for Bear, she sees everything negative in her life brought on by the shadow of a mountain under which her forest spreads. She intends to do something about it.

From The Mountain That Wouldn't Move, written and illustrated by Sandra Dumais

At a forest meeting, Bear tries to gather support from Rabbit, Cardinal, Fox, and other animals. Initially, the others are less concerned than Bear. But when she emphatically decides to move the mountain, they all agree. 

From The Mountain That Wouldn't Move, written and illustrated by Sandra Dumais

The mountain, a large grey landform with a cap of snow and a serene face of eyes, mouth, and rosy cheeks, is unyielding. (It is a mountain after all.) No matter which direction they push or how, the mountain stands still. Unlike the others, Bear cannot tolerate giving up. She comes up with some inventive schemes involving balloons, and sails, and even putting the mountain up for sale. It isn't until her friends carry her around the mountainside and upwards to see a different side and a glorious sunset, that the mountain that wouldn't move is accepted for what it is.

From The Mountain That Wouldn't Move, written and illustrated by Sandra Dumais

Montreal's Sandra Dumais takes a different perspective on perspective, by having Bear literally moved to see a different one. Asking someone to see something differently can't always be done effectively. However, putting them in a different viewpoint can do wonders to see a different perspective. Sandra Dumais's story may be read by children to help them be open to other points of view, but she also offers all of us the opportunity to see differently, beyond our initial outlooks and opinions. For children, it might be seeing others from a different point of view, or seeing circumstances like losing a game, being disappointed with their parents' decisions, or making a mistake from a different standpoint.

 

Sandra Dumais uses a variety of art media including pencils, gouache, digital collage and acrylic paint to create sweet and playful illustrations of animals who reflect frustration, joy, nonchalance, and even despondency. Bear is particularly emotive, drawing others into her disquietude, as is the mountain itself, an enormous gray rock, which is depicted as serene and even unassuming. Much of the story is told in the actions, or passivity, of Sandra Dumais's characters—yes, that includes the mountain—from their shapes, colours, and expressions.

 

The mountain may not have moved but when Bear finally did, a new perspective was found, and this made all the difference. 

The Case of the Tagalong Twin (A Gumboot Kids Nature Mystery)

by Eric Hogan and Tara Hungerford (Gumboot Kids Media)

Firefly Books

978-0-2281-0570-1

32 pp.

Ages 3–8

September 2025

 

Scout and Daisy, characters of multiple TV series starring The Gumboot Kids, are off exploring the outdoors yet again and learning about new science concepts. In The Case of the Tagalong Twin, Scout and Daisy have a new mystery to solve and, only by working through a number of clues, will they understand what they are actually seeing.

From The Case of the Tagalong Twin by Eric Hogan and Tara Hungerford

Daisy tells Scout that on her walk over to his place she'd noticed something very odd. She'd noticed someone following in sync alongside her. Scout calls this her tagalong twin and the two retrace her steps to try to solve the mystery of this twin. Even though they don't see this twin on their walk, Scout and Daisy peruse her field notes for clues she may have noticed. Even putting together the clues of the sun, the sidewalk, and Daisy herself, they can't replicate Daisy's tagalong twin. But when the clouds part and the sun shines again, both Daisy and Scout discover they have tagalong twins that show up on the sidewalk.

From The Case of the Tagalong Twin by Eric Hogan and Tara Hungerford

At the library, they discover a science book that teaches them about shadows and how they are formed. 

From The Case of the Tagalong Twin by Eric Hogan and Tara Hungerford

For young children, the concept of shadows and how and when they are created is a complex one. They may or may not notice them—helping children use their senses to make observations is an important part of The Gumboot Kids mysteries—but when they do, they will also notice that shadows don't always appear, that they may change size and shape, and that even lamp lights can produce them. (The appended "Field Notes" will help kids discover more about shadows, as well as introduce them to new words like opaque and light source.) The Gumboot Kids creators Eric Hogan and Tara Hungerford know how to blend science concepts like shadows (or spider webs, tides and woodpeckers) into easy-to-understand terms for young children. And with adorable, felted mice in three-dimensional landscapes—incredibly detailed with tea cups, flowerpots, quilts and books—learning about shadows is easy, engaging, and informative. With Eric Hogan and Tara Hungerford's supplementary notes and a nature craft, The Case of the Tagalong Twin becomes a STEM concept book as well as an art lesson all embedded in a story.

From The Case of the Tagalong Twin by Eric Hogan and Tara Hungerford

Kindergarten and primary elementary teachers would be wise to pick up all the books in The Gumboot Kids Nature Mystery series. (I've posted a list below.) Whether as a lesson starter or a read-aloud, these books will allow teachers to engage children and get them to see their world with new eyes, and nose, and ears... And with their textured, 3D artwork, and tie-in to a popular TV series, The Gumboots Kids will make discovery-based learning the norm for STEM education.

 

 • • • • • • •

 

The Gumboot Kids Nature Mystery series:

The Case of the Vanishing Caterpillar (2019)

The Case of the Story Rock (2019)
The Case of the Wooden Timekeeper (2019)
The Case of the Growing Bird Feeder (2019)
The Case of the Singing Ocean (2020)
The Case of the Buzzing Honey Makers (2020)
The Case of the Shrinking Friend (2021)
The Case of the Hanging Food Catcher (2021) 

The Case of the Disappearing Castle (2024) 

The Case of the Noisy Neighbor (2024)

The Case of the Tagalong Twin (2025)

The Case of the Buried Treasure (2025) 

I Found Hope in a Cherry Tree

Written by Jean E. Pendziwol

Illustrated by Nathalie Dion

Groundwood Books

978-1-77306-220-4

32 pp.

Ages 3-7

September 2020

With spring on the horizon and hope finally blooming, I can't think of a better time to review Jean E. Pendziwol's latest picture book, I Found Hope in a Cherry Tree, illustrated by Montreal's Nathalie Dion.

Who needs toys when you have the natural world as a play thing and mate? First, a little girl, with her beautiful Siamese cat, finds joy in the shadows created by sunshine pouring in through a window or a skylight.

From I Found Hope in a Cherry Tree by Jean E. Pendziwol, illus. by Nathalie Dion

Though she recognizes that they might only stay around for a short time–maybe minutes, maybe days–or even disappear, she knows the shadows will always come back.

From I Found Hope in a Cherry Tree by Jean E. Pendziwol, illus. by Nathalie Dion

When the child and cat head outside where...

I can hear the wind tell stories,

whispering

to the trees

making them

laugh and sigh.

...there is new play to be had. The weather and the natural world can bring quiet stories that whisper or dance, or rush through. And when in her bed, beneath a red blanket worn as a cape, when the stories creep in to nibble her toes, she's the one to tell the stories.

Bundled up in her colourful coat, red boots, and woolens, she imagines the snowflakes as bringing the flavour of clouds, even when icy and sharp. Though everything, whether shadows, stories or snowflakes, can have a downside, there is always hope.

But the cherry tree

knows this:

it is hope in autumn

that brings

flowers in spring.

From I Found Hope in a Cherry Tree by Jean E. Pendziwol, illus. by Nathalie Dion

There may be hope in the buds of the cherry tree but it's everywhere in Jean E. Pendziwol's story. It's in the shadow that changes shape and size, and can disappear but always comes back; in the wild stories that can be tamed; and in the snowflakes that can prickle and freeze but delight. Jean E. Pendziwol makes this child's imaginative play a wholly sensory experience of insight and appreciation for her world, even when unpredictable or ambiguous. And it's the hope for better or more or even the same goodness that enriches her play.

 

I know that Nathalie Dion has illustrated many picture books, including French-language ones, but this is my first for review and  I Found Hope in a Cherry Tree begs me to add her to my 2021 listings of Canadian illustrators of note. (Listings were already posted in 2013, 2015, 2017 and 2019.) Her art, a mix of traditional and digital paintings, then cut, transformed and manipulated in Photoshop, has an ethereal quality to it that suggests much of the play is in the child's head, not in her feet and hands. Even in the darkness of late-night storytelling, Nathalie Dion suggests a lightness of message with a child immersed in thought and perception.

Play can be more than activity. It can be in the soul that sees beyond the doing, the now, the ephemeral. It can be in the hope of possibilities and Jean E. Pendziwol and Nathalie Dion help us see this in I Found Hope in a Cherry Tree.

Little Cheetah's Shadow

Written and illustrated by Marianne Dubuc

Princeton Architectural Press

978-1-61689-840-3

30 pp.

Ages 3-7

April 2020

For most of us, our shadow is just something that follows us around when it is sunny and invisible when in the dark. For others, their shadow is something much more. It could be a companion, a sibling, a partner and someone that makes them better than when alone. These shadows, when absent, are truly missed. It's no wonder Little Cheetah is keenly aware when his shadow is not with him.

From Little Cheetah's Shadow by Marianne Dubuc

When Little Cheetah's shadow goes missing, he finds him saddened and sitting in a tree. When asked why he ran away, Little Shadow explains that Little Cheetah always gets to go first and always chooses where they go and then, to add insult to injury, Little Shadow's tail always catches in the door after they leave a shop.

From Little Cheetah's Shadow by Marianne Dubuc

Little Cheetah vows to change things and experiences what it has been like being Little Shadow, including his shadow's reluctance to enter the dark where he disappears. With a flashlight and sticking together, they are able to face the dark. Together they are better.

From Little Cheetah's Shadow by Marianne Dubuc

I'm always charmed by Marianne Dubuc's stories and her artwork. Though her characters are often animals such as cats or mice or lions and birds, she seems to see the world as young children might. In Little Cheetah's Shadow, the characters may be cheetahs but they are children at heart, children who aren't aware of how others perceive their actions or that their actions may actually be unintentionally harmful. Given an opportunity to show empathy and do what's right, Little Cheetah is happy to do so, learning first from Little Shadow's perspective before helping develop solutions that can work for them both.

Using pencil crayons and watercolours, Marianne Dubuc gives us a child-like glimpse at Little Cheetah and Little Shadow's world. The house is homey with its curtains, plants and furnishings, the town and its inhabitants adorable–bunny dad strolling with baby in a pram, a frog tipping his hat in greeting, and an armadillo going shopping–and the darkness oppressive without a light. It feels like a microcosm in which each part is important and contributes to the whole. Part of the wholeness is Little Shadow in Little Cheetah's life. With an awareness of Little Shadow and his perspective, Little Cheetah can ensure that his companion will always be by his side and not obscured in the darkness.

From Little Cheetah's Shadow by Marianne Dubuc

M in the Abstract

by Douglas Davey
Red Deer Press
978-0-88995-487-8
216 pp.
Ages 14+
March, 2013

We all have voices in our heads directing our actions.  They may be the voices of our parents who reminded us what to do or not do; our consciences lacing our decision-making with guilt or clarity; our inner children begging to be heard; or even our own voices silently repeating a mantra for living a better life.  Most of us can tell the source of those voices and heed them accordingly.  But what if you couldn't discern the source of the voices?  Or they're so loud and insistent that they're impossible to ignore?  Or what if they seem to be accompanied by dark wispy shadows that torment and tantalize?  How do you make sense of your voices then?

This is Mary's reality (or maybe not).  For Mary, whose real name is Mariposa (though her mother always calls her Posey), the voices are persistent, often warning her against interactions with others and arguing with her choices or suppositions.

This is not a place for you (pg. 38)
Remember the last one seemed friendly (pg. 60)
Stop this before you get in over your head (pg. 63)

But with a move from the suburbs to town, Mary is exposed to new people at school and elsewhere.  Her mom may want Mary to change her look, to make new friends and to wipe away all memory of her dad (who'd inexplicably left ten years earlier), but these stresses continue to bring forth the voices and the dark shadows that drift around her.

Mary tries to appease her mother and even thinks about making herself happy, considering having a boyfriend after two different boys show an interest in her.  But her lack of experience interacting with others have her reconsidering every decision she makes, sometimes overreacting and confusing others.  As Mary tries to navigate successfully into new relationships, she begins to consider what the voices and shadows truly mean.

Douglas Davey presents Mary's situation in haunting colours of loneliness, confusion, dismal weather, and wispy shadows.  Even as Mary meets new people and experiences positive interactions, Douglas Davey does not allow the reader to forget the trepidation that accompanies each new encounter.  Sadly even as she enjoys moments of camaraderie and fleeting affection, they're sabotaged.  But the source of the sabotage is unclear.  When I began reading, I wondered whether M in the Abstract was speculative fiction and the voices fantastic elements of a new world. (In my defense, I try not to read too much about any book before I read it to ensure my review is truly my own.)  I realized soon enough that I was wrong. As the title suggests, Mary is an enigma, unsure of herself. When she signs the class register, she signs it as M, not Mariposa, not Mary.   The book M in the Abstract is as abstract as its protagonist in that it is a complex examination of a girl with legitimate worries and in transition.  How she interprets and deals with those concerns is profound, as is how the story resolves itself.  To its very end, the story is abstruse, just as it would undoubtedly be in reality.