Raw Talent

Written by Jocelyn Shipley

Orca Book Publishers

978-1-4598-1834-7

138 pp.

Ages 11-14

August 2018

Everyone wants to help out Sunflower Farm, the family farm of Stonehill High students Vanessa and Heath. Since the death of their father, their mother has been struggling to keep the farm running and the school community is coming together for Farmshine, a performance and market fundraiser.  Raw Talent's narrator, Paisley who is Heath's Grade 9 classmate, intends to volunteer with her best friend Jasmeer but what Paisley really wants to do is perform. Her ambition is to be a singer-songwriter and she has no problem posting videos of herself performing but her stage fright is discouraging her from signing up to sing at Farmshine.  With a mother who is an accomplished flutist with the symphony and a university music teacher, Paisley is just not sure she can cut it on stage.

With celebrated singer-actor Maxine Gaston staying at Jasmeer's parents' B & B while her local home is being renovated and she is performing at the Stratford Festival, Jasmeer arranges for her to coach Paisley to help get over her performance anxiety.  Maxine Gaston is a great help but Paisley, who has much to overcome because of a disastrous audition at age 10 with the award-winning Sweetland Singers, is being harassed online, by phone and in person by Cadence, the self-important girlfriend of Heath and soloist with the Sweetland Singers.  Can Paisley get beyond her insecurities about her lower singing voice and Cadence's nastiness to stand up in front of an audience and do what she loves?

Raw Talent is a feel-good hi-lo novel for older middle graders and young teens. While written at an easier reading level, Raw Talent's story, part of the Orca Limelights series based in the performance arts, will resonant with young teens aspiring to new endeavours but unsure of their abilities. Jocelyn Shipley makes sure that the reader realizes that having a dream is futile if you don't set goals to achieve it.  It's up to Paisley to decide what she can and cannot do. Not her mother, not Cadence, not the director of the Sweetland Singers. Just her. She might have been devastated when she didn't get into the Sweetland Singers but she found a way to continue singing and performing albeit in the privacy of her room while still sharing it publicly. Then, with Maxine's coaching, she has the opportunity to take steps forward. Though not easy, especially with self-doubt and bullying that erodes her confidence, Paisley steps up. Jocelyn Shipley doesn't just hand Paisley the opportunity, though.  She makes sure the girl works for what she wants. Maxine Gaston is encouraging but she is not effusive and she makes it clear that, if Paisley isn't willing to put herself out there, she's not going to bother coaching her. That could be an "ouch" moment, but it's not because it's a challenge that Paisley accepts. Similarly, the bullying that Paisley experiences via Cadence is nasty but impactful and still she finds the means eventually to toss it off with a "Whatever". 

Whether Jocelyn Shipley intended, she's affirming Nietzsche's belief that "That which does not kill, makes us stronger".  Paisley's performance anxiety and Cadence's bullying can't stop her and, in fact, they give her the opportunity to be more than she could have imagined for herself.

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.

Everything Beautiful Is Not Ruined

Written by Danielle Younge-Ullman

Razorbill

978-0-425-28759-0

368 pp.

Ages 13–17

February 2017

After, I stand for a few moments looking out over the water, the moon reflecting off its glass-like surface.  It's beautiful, yes.  But the beauty doesn't reach me the way it's supposed to because I feel like it's been shoved down my throat.  I register the stark gorgeousness of the dying day, and what it fills me with is unease, and an ominous sensation of cracking inside–of cracking open, of a corresponding excruciating pain I have kept at bay by incredible discipline beginning to seep toward the surface. (pg. 87)

Ingrid Burke must feel like she's been deposited in another world, and one not of her choosing.  In fact, not even one like in the brochure her mother, retired opera singer Margot-Sophia Lalonde, had shown her of Peak Wilderness, an outdoors camp in northern Ontario, to which Ingrid has agreed to go so her mother would permit her attendance at a prestigious music school in London England.  Worse yet, Ingrid, who perceives herself to be “a model citizen and paragon of stability” (pg. 53) compared to the miscellany of other troubled youth campers, must survive three weeks of hiking, canoeing, roughing it, and sharing under the supervision of leaders Pat and Bonnie who seem to enjoy the group’s failures at near impossible tasks.

What happened that led Ingrid to this challenging and repeatedly dangerous situation is told in alternating chapters, organized by Ingrid's age, that speak to her life before Peak Wilderness.  They tell of her life travelling the world with her famous mother and then, after damage to Margot-Sophia’s vocal chords leads them home to Toronto,  the reversal of roles when Margot-Sophia is overcome with depression.  Revealed slowly but with ease are Ingrid’s experiences at school and home, feeling vulnerable and frustrated, fearful and positive, and her attempts to achieve normalcy and some happiness. Eventually we also learn what led her to Peak Wilderness.

My words cannot do justice to the depth of Danielle Younge-Ullman's characterizations and story-telling.  There is so much to share with readers that my words seem sparse and ineffective. But I can tell you that Danielle Younge-Ullman weaves Ingrid’s present and past into a fabric of ordinary and extraordinary, creating a life of tenacity to which most of us could aspire.  Though Ingrid doesn’t want to acknowledge the vulnerabilities that brought her to the camp, Danielle Younge-Ullman provides hints throughout the story–Isaac, an axe and an injured leg–that there is more to the teen’s story than she reveals to others and even to herself.  Her go-to survival mechanisms include a strained positivity —“How exciting, and what a magnificent opportunity to get in touch with my inner savage” (pg. 29)— and silence with a dose of denial.  But beyond Ingrid’s inner turmoil are the relationships the teen has with her mother, her new father, a boy with whom she has a connection, and all the campers.  These relationships drive Everything Beautiful Is Not Ruined.  They ebb and flow, both serene and passionate, not unlike the music of a great opera that Margot-Sophia might have performed.  Though Ingrid might think she knows the music of her life really well, she’s just learning to perform it with passion so that she can make it successfully to the triumphant finish. And Danielle Younge-Ullman makes sure that we want to stay for the whole performance without ever nodding off.

****************

On May 6, 2017, Danielle Younge-Ullman will be speaking at the Stratford Writers Festival Young Adult forum along with numerous other YA authors.  I'll post about it here soon but you can get details at http://digiwriting.com/stratford-writers-festival-young-adult-2017/

I'll be there and you should be too!

Born With: Erika and Gianni

by Lorna Schultz Nicholson

Clockwise Press

978-0-9939351-7-6

231 pp.

Ages 13+

March 2016

Clockwise Press launched its young adult series One-2-One with Fragile Bones: Harrison and Anna (2015), also by Lorna Schultz Nicholson, focusing on the relationship between two teens in the Best Buddies program, a world-wide organization that aims to help individuals with intellectual and developmental disabilities integrate successfully  into their communities. Born With features two other teens, both with a love of musical theatre: Erika, a fourteen-year-old born with Down Syndrome and Gianni, a teen who’s struggling with his sexuality.  This is their story, a powerful one for their trueness of thought, action and self-appreciation.

Erika and Gianni both audition for the school’s musical Grease. While Erika is thrilled to get selected to sing and dance in the chorus for three songs, Gianni is disappointed to get slotted for the comedic role of Eugene, losing the coveted lead role of Danny Zuko to the more athletic but less talented Richard.  Also cast are Erika and Gianni’s friend Sonya, as Sandy, and a boy named Bilal to whom Gianni is secretly attracted.

Gianni is determined to be stellar in the role of Eugene and to help Erika rehearse her lines and steps, ensuring that both will be successful.  But the two teens have more on their plates than singing and dancing. Erika’s father has ALS and his condition is worsening, and, though she takes her responsibilities for him very seriously, all she wants is for him to see her dance.  On the other hand, Gianni is coming to terms with his sexuality and what he wants out of life, convinced he already doesn’t fit his father’s dream for him, and that he can’t be himself until he is able to graduate from high school and leave his big Italian family.  But secrets have a way of becoming revealed, especially when Erika has been tutored in not keeping secrets, even if they are someone else’s personal business.

Born With takes on the monumental task of showcasing characters living with aspects of their lives over which they have no control: a genetic disorder, and sexual orientation.  Erika has a great understanding and acceptance of the strengths and limitations of her genetic disorder, and works to meet her needs, advocating for herself while celebrating in her own successes.

Sometimes people don’t think I can be serious or that I can learn things, but I can–I can do lots of things after I’m serious and listen. And focus. Focus. (pg. 9)

Likewise, Gianni has compassionate insight into Erika but he has yet to accept himself, confused over his sexuality, still processing what he is feeling and with whom to share that secret.

Tonight Erika’s honesty was creating chaos in my life.  But, seriously, what difference did it make who I was in the school musical?  That was a relatively little issue in comparison to the rest of my life. (pg. 190)

Both Erika and Gianni must navigate how others feel about them and make them feel, while dealing with family, friends, peers, ignorant bullies, and others.  The high school years are tenuous enough but Erika and Gianni have struggles that many of us could not imagine, and yet they dare to be themselves and are able to thrive.  By wrapping their stories in the joyful musical that is Grease, another story about being true to oneself, Lorna Schultz Nicholson has written an inspirational and triumphant story of acceptance in Born With: Erika and Gianni.