A Little Halwa and a Big Family

Written by Farid Bazger

Illustrated by Sahar Abdallah

Running the Goat, Books & Broadsides

978-1-998802302

40 pp.

Ages 4–8

March 2026  

 

Halwa is a confectionery traditional to many countries from Central Asia to the Middle East and into Africa and Europe. And when Mama and Papa have a craving for it one night, but little in the way of ingredients for their large family, they plan a secret treat for themselves once their children are in bed. But, unbeknownst to them, everything will change when little Malala overhears their plan.

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

Malala tells her older brother Bahir, who tells his older brother Azmoon, who tells his older sister Lima, who tells her older brother Abasim, who tells his older brother Zareen, who tells his older sister Zala. And with that, seven children hatch a plan to be in on the late-night treat.

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

When the parents see the children have brushed their teeth and been tucked into bed, they head to the kitchen. But, when Mama starts to prepare all she needs for cooking the halwa, from matches to light the stove, and flour and sugar and other ingredients, she finds them all missing. The children obviously know what Mama will use, and with every staple needed, a child appears to deliver it. And with each delivery, the child is invited to sit and watch and wait to share in the halwa.

 

But the same problem that the parents recognized initially—insufficient ingredients to feed their large family the special treat—is still a problem, with every child getting a little halwa and the parents giving themselves none. Is there a way for a little halwa to feed a big family?

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

A Little Halwa and a Big Family is a version of a chain story in that there are seven children and a similar number of ingredients or elements needed to make the halwa. (A recipe is included.) With seven Afghan children to bring in the missing ingredients, it's a tale that emphasizes unity, sharing, and even teamwork, in a very playful way. Originally from Afghanistan, Farid Bazger blends his traditional culture with the mischief of children and the unselfishness of parents. From the tasty treat to the family dynamics, this is a large Afghan family rooted in affection and consideration. While the parents may initially seem a bit selfish hiding their planned treat from their children, they really aren't. It is just Papa having a craving and Mama happy to make it for him. And yet, when she finally starts cooking it, there is never any option other than sharing with their children. The parents are giving and caring and these same traits have been bestowed upon their children who want to do the same for their parents. 

 

Sahar Abdallah, an Egyptian-Canadian artist, uses pencil crayon, soft pastels, and powder pigments (see the video of her creating an illustration here) on brown Kraft paper. Her media give a softness of texture as well as colour, creating a homey feel within the illustrations. It's perfect for a story in an Afghan home with its large family of boys and girls wearing clothes of bright colours of green, orange, white, blue, and gold. Sahar Abdallah gives the story the warmth that Farid Bazger's family shows in its hospitality.

From A Little Halwa and a Big Family, written by Farid Bazger, illustrated by Sahar Abdallah

Whether you try the halwa recipe included or just enjoy being welcomed into this family's abode, A Little Halwa and a Big Family proves that, when there is kindness, there is always enough food to share.

Sophie Shares the Stars

Written by Heather Smith

Illustrated by Catherine Petit

Orca Book Publishers

978-1-4598-4015-7

32 pp.

Ages 3–5

September 2025 

 

Sophie has lived with her Michael since she was three years old. (She is eight now.) It's obvious that she adores her adopted father and he her. In fact, he's given her the universe both as a ceiling display and as a deeply felt sentiment.

My Michael says, "You are the whole universe."

I think that means he can't live without me. (pg. 3) 

From Sophie Shares the Stars, written by Heather Smith, illustrated by Catherine Petit

The life they have together is filled with love. They spend time talking, playing, and going to beach, and, when she messes up, he helps do better. But when her father, affectionately called My Michael, becomes ill, things change. It doesn't change between them but around them. Sophie tries to help him as he helped her when she had been ill. But Michael's illness is not a flu or a cold or a broken leg or anything with a visible nature. He has one of the myriads of invisible illnesses that most people do not see. Not surprising that their neighbour, Mr. Donaldson, declares that he saw Michael the day before and he didn't look sick. The child never knows what to say—and she shouldn't have to explain for her father—and always changes the subject.

From Sophie Shares the Stars, written by Heather Smith, illustrated by Catherine Petit

But the one thing Sophie can do is share her universe with him. By removing some of the glow-in-the-dark stars from her ceiling and creating the Big Dipper on the wall behind her Michael's bed, she shares the stars with him. Her Michael has good days and bad, but she's always there to hope he'll feel better, to make sure he knows he's loved, and to see him as the Michael is.

From Sophie Shares the Stars, written by Heather Smith, illustrated by Catherine Petit

Sophie Shares the Stars is a touching story about a familial relationship, but it tackles more by including adoption and an invisible illness. In her "Author's Note," Heather Smith speaks to her personal connection with the story, but, even without that knowledge, I know that she would have treated the topics with sensitivity and understanding, never with judgement. Anyone with an invisible illness, particularly those which are chronic or a mental illness, can attest to the frustration and isolation that comes with dealing with the illness and with others. If those others cannot see a cast, an open wound, or bandages, many will not understand the complex symptoms with which the ill person is suffering. I appreciate that Heather Smith never reveals Sophie's Michael's illness, but it really is irrelevant to the story. It is invisible and that's all that needs to be said. Because the story is about Sophie and her relationship with her Michael, and how they became a family, and grow stronger each day as a family, regardless of the challenge of his illness.

 

Montreal illustrator Catherine Petit uses pencil and digital tools to create the upbeat artwork that is all about the relationship between father and daughter. This child is well loved, bursts with energy and wonder, and shares her goodness with her father, knowing that he would choose her again. His open arms, and his dedication to bringing her joy and safety, are visible in every illustration, even when he's not feeling his best. And her devotion to him is palpable. She may be his universe, but Catherine Petit lets us see her smile, her eyes, and her concerned hugs and soothing caresses that he is hers.

 

I know this picture book is aimed at young children, and those who have been fostered or adopted will appreciate how a new family can be created when a birth family is not available to care for a child. But Sophie Shares the Stars will also be a reminder to all readers that there are those who live with invisible illnesses who many appear unimpaired—"appear" is the operative word—but whose lives and those who love them are significantly impacted, even when symptoms wax and wane. Thankfully for both Sophie and her Michael, they are there for the other to make life not just bearable but bright.

Rez Kid

Written by Andrea Landry

Illustrated by Isabelle Fassler

Kids Can Press

978-1-5253-1125-3

32 pp.

Ages 4–7

September 2025 

 

When kids shout out labels or taunts that are meant to hurt or to expose personal vulnerabilities such as poverty or physical appearance, it can be to bully and demean. But, though taunts of "Rez Kid" on the school bus are hurtful, the main character in Andrea Landry and Isabella Fassler's picture book focuses on what living on the reserve means to her and how she can help others understand what being a rez kid is like.

From Rez Kid, written by Andrea Landry, illustrated by Isabella Fassler

Being singled out as a rez kid makes this child's heart sink as she makes her way to the back of the school bus to return home at the end of the school day. But as the bus gets closer to home, her spirits are lifted. For her, being home on the rez means being with her mom and beading together. It's the smell of sweetgrass and sage.

From Rez Kid, written by Andrea Landry, illustrated by Isabella Fassler

It's picking sage, porcupine root and dandelion for medicine with her Nóhkom. It's riding horses with her Moshum. It's enjoying tea with her aunty and harvesting vegetables out of the garden. And it's listening to their wise suggestions about how to deal with the name calling. They suggest she show the other kids how to be kind, how to learn something new, how to be confident, and how to be generous. With every heartfelt interaction with her family and her own kindheartedness—she prays for those with hard hearts—this child turns taunts into understanding and appreciation.

From Rez Kid, written by Andrea Landry, illustrated by Isabella Fassler

Though the verbal jabs at the child are meant to hurt, she is able to be mindful about seeing beyond the bus ride and embrace the rez as a place that she loves. It is a place of trees, lakes and land, and it is one of family and love. This child knows what goodness is in her life by virtue of life on the rez but, in order to resolve the bullying she endures, she must help others see it too. By recognizing that their ignorance is the root of the bullying, she invites them to visit with her and her family on the rez to see the wonderful life she has there. 

I show them the home of my ancestors.

The home of my family.

I show them the beads,

the medicines,

the horses,

the vegetables from my aunty's garden.

My home.

Andrea Landry, an Anishinaabe who now lives on Poundmaker Cree Nation, shares some background into reserves (or reservations as they are called in the U.S.), including the challenges endured because of broken promises by settler governments. But, as she does in Rez Kid, Andrea Landry focuses on the communities that Indigenous families are creating despite these difficulties, and invites readers, like the child does to her bus mates, to see the rez not as a less-than-favourable place but as a home of heritage and compassion. The rez is not a place of less but a place of different and more.

From Rez Kid, written by Andrea Landry, illustrated by Isabella Fassler

While the school bus ride has some cruel moments, Toronto's Isabella Fassler gives us the warmth of brightness in her artwork, rendered in pencil crayons and digitally finished.  And everywhere she incorporates elements important to Indigenous culture, whether it's the brightest of beads becoming flower earrings, a ribbon skirt, or the bannock that is shared. When Isabella Fassler lets the light of the child's pride in her rez home shine, even that dark bus is enlivened. From swirls of colours, stars and waves of flowers and plants, Isabella Fassler gives movement and spirit to rez life and those who make their homes there.

While I know that all schools will not enjoy the presence of rez kids, I hope that Rez Kid, the book, will start a discussion about different cultures, traditions, families and the understanding which we should all show those who are different than us. This child and others including Andrea Landry and her children see the good in living on a reserve. For any child, rez or not, who is lives differently, be proud. Your experiences are incomparable and that makes them all the more special, especially when they abound in love and compassion.

The Warmest Blanket in the World

Written by Tamara Levine

Illustrated by Ellie Arscott

Second Story Press

978-1-77260-410-8

24 pp.

Ages 6-8

February 2025 

 

While most of us are already thinking about the warmth of spring and summer, there will be many, particularly the elderly, for whom the change of seasons will not necessarily bring that which would warm their fingers and toes. For those with poorer circulation and other health issues, particularly those associated with aging, cold feet and hands can be problematic. And young Frida wishes she could do something to help her amazing great-grandmother Ama who says she feels like she lives in a refrigerator.

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

Frida enjoys visiting her great-grandmother as much as the older woman relishes seeing the child, telling her each time, "Do you know you've made my day? You're one special kid!" Ama tells Frida stories about her life and the importance of women fighting for their rights. (Frida even attended a protest with Ama once.) They sing songs together and they snuggle under her blanket. But even that blanket doesn't keep Ama warm enough. So, Frida gets some advice from her mom, her grandmother and her aunt.

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

Frida recalls what she'd learned of muskoxen which reminds her aunt, a knitter, of a mill in Nisku, Alberta where Tanis, an Inuk woman from NWT, prepares qiviut, the wool that comes from muskoxen. This wool is said to be the warmest in the world. 

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

Frida writes Tanis and explains how much she loves her great-grandmother and how much Ama has done to make things better for girls and women. Now Frida wants to help her. The response she gets is far greater than some skeins of wool.

From The Warmest Blanket in the World, written by Tamara Levine, illustrated by Ellie Arscott

There are a lot of layers to Tamara Levine's story of The Warmest Blanket in the World. There is a sweet intergenerational relationship between Ama and Frida. There is a story of activism and doing good and supporting the rights of others, particularly women and girls. There is also a story of compassion and sharing. And there's the story of the muskoxen and how the Inuit have spun the wool of these Arctic animals into yarn and clothing. That's a lot of stories, and Ottawa's Tamara Levine weaves them all together in a story of family. This is more than a story of a blanket. It's about who needs what, who can help, and why we should help. 

Ellie Arscott, who illustrated the award-winning Night Walk, keeps the lightness of family and the warmth of a blanket and affection in her artwork, done in watercolour and ink. There is realism, when she depicts the muskoxen on the tundra and in the sepia images of suffragettes fighting for the right to vote. But there is a quaintness in the patterns of blankets and bed linens, in the calico cat and in the coziness of their homes. Ellie Arscott keeps it all bright and homey.

 

The Warmest Blanket in the World is a tender story of family and kindness. It's wrapped in qiviut and embedded with affection and humanity. It doesn't get any more warm-hearted than that.

The First Ones on the Ice

Written by Lana Button

Illustrated by Alex MacAskill

Nimbus Publishing

978-1-77471-305-1

32 pp.

Ages 3-7

November 2024

 

With many parts of Canada having had their first snowfall, there will be many looking forward to frozen lakes and rivers as well as outdoor rinks, whether in a yard or a park, to get their skating and hockey seasons started. And they'll think about being the first ones on the ice.

From The First Ones on the Ice, written by Lana Button, illustrated by Alex MacAskill

This story starts with a brother and sister, bundled in their hats and scarves, boots and coats and mittens, heading out in the predawn, forging a path through fresh snow. There is only a snowplow on the road and wildlife and a lot of snow. They carry their skates and hockey sticks but also shovels. They know what must be done.

From The First Ones on the Ice, written by Lana Button, illustrated by Alex MacAskill

With shovels to the snow, they clear the ice before the sun is even up, anticipating that others would soon arrive. When done, they skate. Then the others come, kids their age and even older ones that play pro hockey. The sibs skate and play, and cheer and dig pucks out the snow. And when they've headed inside for some hot soup and everyone else follows suit, there's one last special opportunity for enjoying that ice.

From The First Ones on the Ice, written by Lana Button, illustrated by Alex MacAskill

For many children who grew up in Canada or northern environments, first snows and outdoor skating are a hallmark of the onset of the season. Lana Button's story may or may not be based on her own experiences but it's definitely reminiscent of all of ours and those of children in many rural areas where every day would be spent on the ice.  There's no grumbling about the cold or getting up the morning or sharing the ice with others. For these kids, being on the ice was a time of camaraderie and pure joy, and they squeeze out over moment from predawn to after nightfall. It might not be the way it is now, with fears for stranger danger and ice that doesn't stay frozen but Lana Button's story, in addition to taking some of us back to simpler times when we could spend whole days on the ice, reminds us that we are part of communities in which we do for others and we share. But because Lana Button tells the story that has a nostalgic winter theme, the messaging is sweet and never preachy.

From The First Ones on the Ice, written by Lana Button, illustrated by Alex MacAskill

And if Lana Button's story doesn't take you onto the ice and feeling that cold air and the satisfaction of all-day play, then the art of Halifax's Alex MacAskill will definitely do so. From the skies and the snow, this winter landscape is tangible. He gives temperature and texture and life to his illustrations, whether it be a dog slipping on the ice, a child getting stuck in deep snow, or the siblings enjoying hot soup indoors. I could hear the crunch of the snow and slap of a stick on the ice and even the quiet of a landscape newly covered in snow.

My family may not have the amount of snow these kids are living with in The First Ones on the Ice, but we've already had discussions about whether the river here is frozen. (The coyotes suggest it is.) So winter is here, and lakes and rivers and even local outdoor rinks are freezing and readying for young skaters and hockey players to take to the ice. As Lana Button and Alex MacAskill show us, being the first ones, and the last ones, on the ice is something very special.

Raven Gets Tricked (Coast Salish Tales)

Written and illustrated by Andrea Fritz

Orca Book Publishers

978-1459836273

32 pp.

Ages 6-8

September 2024

 

Andrea Fritz of the Lyackson First Nation brings us a new story for her Coast Salish Tales series, continuing to connect young readers to the teachings of the Coast Salish peoples through storytelling. 

It's winter and Smuy (little deer in the Hul'q'umi'num' language) finds his food stores empty except for some berries. When he realizes that he always shares with his cousin Spaal' (raven) who never reciprocates but often tricks Smuy instead, Smuy concocts a plan.

From Raven Gets Tricked, written and illustrated by Andrea Fritz

Smuy's plan begins with mashing up his remaining berries and pouring them out onto the snow beneath Spaal's tree. When Spaal' sees the red snow and asks Smuy to share it, Smuy does so. But Spaal' needed more space for this wonderful red snow so deposits his dried salmon and leaves it on the beach. While Spaal' continues to help himself to the red snow and even trying to hide that he'd taken more than his share, Smuy helps himself to the discarded salmon. 

Back after a night near Spaal's fire, all the red snow melts and floods his house. Smuy kindly takes Spaal' to his house and feeds him salmon, and even gives him some to take home as all his food is now gone. (At least Spaal' thanks Smuy with "Huy ch q'u!")

From Raven Gets Tricked, written and illustrated by Andrea Fritz

Between the art and the story, Andrea Fritz teaches, entertains, and delights with Raven Gets Tricked. The story has much to say about greed and sharing, self-sufficiency and helping others. It never occurs to Spaal', the raven who is known as a trickster, that he should think of others. He wants what he wants, never sharing–except when tricked into it–but always wanting from others, never wondering if they need something more than he. He asks, he takes, and he holds. Smuy, on the other hand, needs food. Whether his stores were always inadequate or because he shared with others or whether someone like Spaal' stole from him is irrelevant. I don't know why he didn't just ask but I suspect he knew that Spaal' would have many excuses not to share. Regardless, Andrea Fritz has created two very different characters. She makes Spaal' the selfish and manipulative creature upon whom misfortune occurs because of his own greed and Smuy, the kind animal who is compelled to reciprocate trickery but still shows goodness to help another.

From Raven Gets Tricked, written and illustrated by Andrea Fritz

Andrea Fritz even differentiates the two animals in the style of her art. Using a lovely and generously emotive Woodland style of art, Andrea Fritz gives Smuy a softness while Spaal' is somewhat sharper in shape and line. Of course, with a beak and talons, there is more sharpness to a raven, but the little deer looks lithe and muscular and still delicate. Moreover, Andrea Fritz's illustrations take us beyond the two characters, placing us in a northern environment of coniferous trees, laden with snow, purple and blue waters, and wooden plank houses. (The grain of the wood is reflected in many surfaces, from water and beach to sky and land.)

The story in Raven Gets Tricked offers a lesson in sharing but Andrea Fritz takes that teaching a step further by appending it with a discussion of Coastal Salish Plank Houses. She shares her personal experiences of building plank houses and even moving them to foraging grounds in the summer. Along with time spent in the houses, there is discussion about sharing and trading with local Nations.

Spuy may have to trick Spaal' in order to get food to survive but the little deer still does it with kindness and generosity, a lesson Spaal' should have learned.

 

• • • • • • •

 

Coast Salish Tales by Andrea Fritz

Otter Doesn't Know (2023)

Crow Helps a Friend (2024)

Raven Gets Tricked (2024)

Woolly Dog Warms His Family (expected 2025 or 2026)

What's in Alanna's Secret Sauce?

Written by Sarah Jane Conklin

Illustrated by Venus Angelica

Monster House Publishing

978-1-99822-308-4

38 pp.

Ages 6-9

September 2024 

 

I can't think of a better picture book to share for Thanksgiving than What's in Alanna's Secret Sauce?, which will the first book I will have reviewed from New Brunswick's Monster House Publishing. I'm just thankful that I read it this week and was able to get a review out in a timely manner.

From What's in Alanna's Secret Sauce? written by Sarah Jane Conklin, illustrated by Venus Angelica

As a child, Alanna helped her Nan in her garden, sowing seeds and bulbs for tomatoes and onions, garlic and herbs, and more. When they harvested, it was time to bring out the great big pot and start cooking. As their sauce cooks, Alanna is amazed by the aromas, both proud and intoxicated. But the smells that waft from their kitchen drift onto the street and draw neighbours and even strangers to the house. Even before the sauce is done, Nan tells visitors to come back for supper.

More people came to taste the sauce,

Its scent spilled through the town.

Her Nan invited all to dine,

Despite Alanna's frown.

From What's in Alanna's Secret Sauce? written by Sarah Jane Conklin, illustrated by Venus Angelica

They all return, everyone bringing what they are able, whether it be drinks or spaghetti, bread or prayers of thanks. And, miraculously, there is enough for all. 

Later Alanna grows into a chef and holds dear that recipe, but she carries on the traditions of generosity and sharing, having learned that the secret ingredient was not something that had to be picked and chopped or squirrelled away in the pantry.

At 9 years of age, it was all about Alanna and what she wanted, from insisting that all the seeds were hers–"They're all mine!"–as is the sauce–"I picked clean each vine, the sauce is mine, I'll keep it all myself"–to her worry that there wouldn't be enough sauce for her if they shared with others. She couldn't see beyond herself. This isn't unusual for very young children who see everything that happens as it relates to them. Fortunately, Alanna has a very wise Nan who guides her to experience generosity and gratitude by opening her heart and her kitchen to all.

"If everyone would do their part–

Contribute what they're able,

There'll always be enough for all,

If just brought to the table."

Similar to the parable about the fish and the loves, What's in Alanna's Secret Sauce? isn't about cooking or a recipe. It's about feeding masses with very little, all courtesy of a miracle. Nan's pot, even cauldron size, should only feed a limited number of people but, by some marvel, there is plenty. And there always is plenty in our world. People should not be going hungry. Author Sarah Jane Conklin, who currently lives in Nova Scotia but hails from Newfoundland, opens her story with a quote from Bono: "If you want to eliminate hunger, everybody has to be involved." Sarah Jane Conklin takes that sentiment and lodges it at a grass roots level in Nan's kitchen which she opens to everyone and anyone. Her secret sauce may draw them in, but everyone shares something, whether it be food, drink or sentiment, to turn a little sauce into a phenomenon to feel the belly and soul. And it's a lesson she teaches her grandchild by example.

From What's in Alanna's Secret Sauce? written by Sarah Jane Conklin, illustrated by Venus Angelica

I didn't know the work of illustrator Venus Angelica, originally from Toronto and now of Fredericton, but, wow, did she take me into Nan's garden and her kitchen, and even onto the street from which strangers and neighbours alike are drawn in. Her palette of autumnal colours of red, orange, green and yellow reflect the time of the harvest and also the time of Thanksgiving. Moreover, though they are just cooking and eating, there is life in Venus Angelica's art, from the bounce of Alanna's long curly hair to the swirls of aromas wafting from their cooking pot. And there is always goodness in the smiles of those partaking in the sauce to those doing the dishes and especially for Alanna's Nan who gives without reservation.

 

Having recently filled my own kitchen with jars and jars of tomato sauce and salsa, What's in Alanna's Secret Sauce? reminds me of the busyness and creation of good food. But it's the sharing of that food, giving without expectation, that brings the greatest joy and achieves the greatest good. So, this Thanksgiving, give thanks for food and give food to share, so that all have enough. And that's not much of a secret.

The Tray of Togetherness

Written and illustrated by Flo Leung

Owlkids Books

978-1-77147-462-7

32 pp.

Ages 3-7

November 2022 

While one part of the world has just celebrated the shift of the year from 2022 to 2023, another community will be preparing for the Lunar New Year on January 22. Across Asia and Asian diaspora globally, preparations are being made to ensure an advantageous Chinese New Year. There will be cleaning of households, purchasing of new clothes and fireworks, decorating with red lanterns and more, and, finally, the preparing of food for a multi-generational family dinner. And part of that meal will  be a tray of togetherness, a platter of sweets that carries tradition, good wishes and hospitality. 

From The Tray of Togetherness by  Flo Leung

With the arrival of her grandmother, a child knows it's time to start getting ready for the new year's party to celebrate the "new moon that begins each brand-new year." But first, they must head out to the shops to buy all the goodies to fill their tray of eight sections, a lucky number that "means our happiness will grow and grow." Each purchase is selected with care and meaning. From the candied winter melon for good health, candies for a sweet life and the pistachios for happiness, delectables are procured so that they might be shared along with good wishes.

From The Tray of Togetherness by  Flo Leung

Then the child and her family share those treats and accompanying good wishes with others, including at a red-festooned New Year party that brings family together both in person and virtually to celebrate.

Whether you are a young reader whose family will be celebrating the Lunar New Year or a teacher or parent who wants to use this new year as a teachable moment about heritage and diversity of celebrations, The Tray of Togetherness will foster a fellowship of understanding and appreciation. This may be Toronto illustrator Flo Leung's first picture book, but she knows food, she knows art, and she knows her family's traditions. Together she has created an explosion of brightness and comfort in her words and her illustrations and informs about traditions for the Lunar New Year. There is a warmth in her colours, with red, orange and gold emphasized throughout, and an invitation to share in the family's festivities and good fortune. Flo Leung, who specializes in food and culinary illustration, knows how to create enticing food images, whether in the form of a market stall, a tray of sweets or a bowl of fruit. But it's her people who welcome us into their world to bask in their conviviality and intimacy of familial celebration.

From The Tray of Togetherness by Flo Leung

Whether your family is celebrating the Lunar New Year with family and your own tray of togetherness or with a reading of The Tray of Togetherness, I wish you happiness and bounty for the new year.

What Grew in Larry's Garden

Written by Laura Alary

Illustrated by Kass Reich

Kids Can Press

978-1-5253-0108-7

32 pp.

Ages 4-7

April 2020

What Grew in Larry's Garden is far more than meets the eye, or the tongue, in this picture book about fruits and vegetables that help build community.

Larry, a teacher, has a small but impressive garden next door to young Grace who likes to help him.

From What Grew in Larry's Garden by Laura Alary, illus. by Kass Reich

There were buttery yellow carrots and purple potatoes. Rainbow chard and scarlet runner beans. Rosy tomatoes the color of ripe peaches. And black ones with red insides.

Together they garden, nurturing the plants and enjoying harvests. When problems arise, like bugs and squirrels, Larry always says, "We can figure this out." His positivity and efforts lead him to encourage his students to grow their own tomato plants from seed and to gift them to others, explaining in letters why they'd been chosen. From gifts of thanks or apologies or to helping them face their fears, Larry was actually allowing his students to connect with others.

From What Grew in Larry's Garden by Laura Alary, illus. by Kass Reich

But when a neighbour adds a big panel to the top of his fence, blocking the sun out of Larry's garden, it's Grace who figures out a way to make things right, echoing back to Larry that he will just need to "Wait and see" what her idea is.

From What Grew in Larry's Garden by Laura Alary, illus. by Kass Reich

Laura Alary based What Grew in Larry's Garden on Toronto teacher Larry Zacharko's project to use tomato plants to help his students connect with their community. Although this endeavour is but a portion of the story of What Grew in Larry's Garden, the whole story is supportive of the need to build community, whether it is by gifting a tomato plant, helping others, making compromises or reaching out to those who seem immovable. Laura Alary makes sure to communicate through her text that community comes with time and effort and is worth both.

Versatile artist Kass Reich–she has written and illustrated a series of Hamster concept books as well as provided art for the Megabat series and other picture books–uses gouache and coloured pencils to bring Larry's garden and his community to life. She uses colour and shape to embrace the reader in a neighbourhood of picturesque houses and arboreal splendour and a garden so textured with life that it's hard to believe there's room for Larry and Grace and a ginger cat to work and play. Fortunately, their efforts at creation and connection produce far more than a garden of fruits and vegetables. They also create a closeness of people and place.

What Grew in Larry's Garden is rosy reciprocity, budding bonds and sprouts of support. Ah, for every garden to be this lush. 

From What Grew in Larry's Garden by Laura Alary, illus. by Kass Reich

The Big Bed

Written by Bunmi Laditan

Illustrated by Tom Knight

Farrrar Straus Giroux

978-0-374-30123-1

32 pp.

Ages 4-6

February 2018 

This child is going to be arguing cases before the Supreme Court; that is, before she ends up presiding over it and being appointed Chief Justice.  She is confident, articulate and, though very young, she knows what she's after and why she should get it. In this case, it's sleeping with Mom in The Big Bed.

From The Big Bed by Bunmi Laditan, illus. by Tom Knight

With eloquent arguments that she purports to be "reasonable" and filled with positive reinforcement about her father's skills as a wrestler and piggyback-ride giver, the little girl opines about what happens at night.  Seems the big bed isn't big enough for herself and her parents, and it's clear who will be leaving.  As she's afraid of the dark, and her father still has his own mommy–hence no need to share hers–she recommends a solution that she is sure he will "find not only satisfactory, but also quite generous."

From The Big Bed by Bunmi Laditan, illus. by Tom Knight

Bunmi Laditan, the blogger behind the very funny "The Honest Toddler" (at http://www.thehonesttoddler.com/), brings her trademark humour to this child's story.  Because it is all told from the child's perspective, from sitting her father down, arguing her case, presenting her plan to her mother (who laughs hysterically) and a culminating claim that "Mommy and I just want you to be happy", I feel like this is based on something Mommy Bunmi Laditan has experienced.  Everyone knows kids say the darnedest things and this little one does more than just say, she reasons and orates.  Supporting that perspective are British artist Tom Knight's illustrations.  His artwork, particularly that of the graphics the child herself creates, bolsters the cuteness of a child's perspective and makes The Big Bed as convincing as she is.

I truly hope her father can get some sleep on his new cot.

From The Big Bed by Bunmi Laditan, illus. by Tom Knight

Me, Me, Me

Written by Annika Dunklee

Illustrated by Lori Joy Smith

Kids Can Press

978-1-77138-660-9

32 pp.

Ages 4-7

September 5, 2017

Yep, it's all about her.  Annie, friend of Lillemor and Lilianne, and the girl in charge.  Or so she thinks, putting herself in control of all decisions relating to a talent show in which the three friends hope to enter as an all-girl singing group.  Sadly, every idea Lillemor and Lilianne bring up at their picnic meeting is vetoed by Annie.  Though the three seem to appreciate the different aspects each girl brings including the languages they speak and the treats they bring, when it comes to their orders of business, Annie decides all "because this whole thing was my idea."  Lillemor and Lilianne may comply but reluctantly.  It isn't till Annie has decided on the song they will sing, the outfits they will wear, the singing role each will play and the name of the group–Mi Mi Mis– that Lillemor and Lilianne speak up.

From Me, Me, Me 

from Annika Dunklee 

illus. by Lori Joy Smith

At first Annie is fine about being a solo act. But she decides something is missing and invites Penny and Ella to join her.  Unfortunately, the two girls give Annie a taste of what she gave her friends.  They decide on the costumes and the name, and relegate Annie, to her dismay, to background dancer.  Annie realizes her mistake and apologizes to Lillemor and Lilianne, promising to listen to their ideas.  A new meeting is held with the same orders of business but with very different outcomes that lead to a winning act.

Annika Dunklee, who wrote the award-winning My Name is Elizabeth (Kids Can Press, 2011), tells a simple story of getting along with friends for the success of all.  By making the girls different in languages spoken–Swedish, French and one Annie creates herself–and in delicious treats shared at their picnic, Annika Dunklee is able to emphasize that differences do not preclude children from coming together.  In fact, these differences make the combination of friends so much richer.

Lori Joy Smith, a PEI illustrator whose name most definitely will be added to an update of youngCanLit Who's Who of illustrators, adds the vivacity of youth to Me, Me, Me, making it like a literary cupcake in colour and tone.  Like Annika Dunklee's text which is never heavy-handed with embedding diversity, Lori Joy Smith makes sure to highlight the differences in the girls' hair, skin and dress while still blending their similarities through expression and friendship.

From Me, Me, Me 

by Annika Dunklee 

illus. by Lori Joy Smith

Character ed is pedagogical programming whereby children develop positive character values like cooperation and responsibility.  Though not planned as a pun on words, I believe book characters can be used to educate readers about situations that would require the establishment of such positive characteristics, perhaps by witnessing circumstances in which they are lacking.  Me, Me, Me as the name implies tells the story of a self-centred child who needs to see the value of cooperation and listening in order to succeed.  As teachers, we know that whether children are 4, 9 or 15, there will be conflicts between friends and they are conflicts that may seem like the end of the world.  Me, Me Me demonstrates that that end may only be a temporary one if the Me, Me, Me becomes Us, Us, Us.