Fania's Heart

Written by Anne Renaud

Illustrated by Richard Rudnicki

Second Story Press

978-1-77260-057-5

32 pp.

Ages 7-10

March 2018

When a little girl finds an old heart-shaped book wrapped in a lace handkerchief hidden in her mother's dresser, she could not have imagined the horrors her mother would share and the joy and courage that decades old keepsake memorialized.

Words have power.

There are words that injure and words that heal.

Then there are words that can save your life. 

From Fania's Heart by Anne Renaud, illus. by Richard Rudnicki

When a young Sorale discovers that small fabric-covered booklet of heart-shaped pages that open like wings, her mother finally tells the child the truth about the number tattooed on her arm and the origins of the keepsake.  Her mother, Fania Landau Fainer, reveals that she was a prisoner at the Auschwitz concentration camp and that the heart was a birthday gift constructed by the young women who were like sisters to her.  Fania tells Sorale of the horrific life in the camp, including the near starvation, the grim living conditions, the forced labour and the mistreatment.  And she tells her what happened for her 20th birthday.

"...I told my friends I would soon be an old lady, since my twentieth birthday was fast approaching." 

"But twenty is not old," I said.

"Twenty can be a lifetime.  We were all so worn and rope-thin.  People did not live to be old in that place," said my mother.

From Fania's Heart by Anne Renaud, illus. by Richard Rudnicki

In a small cake of scraps of bread rations, Fania's friends hide the special heart-shaped booklet in which they wrote messages of encouragement and wishes for freedom outside of the camp.

"Their words saved me."

Fania's Heart is a true story.  It is Sorale's story of learning at about age 9 (in 1955) about her mother's incarceration at Auschwitz and an act of defiance and love that gave Fania the courage and determination to survive.  That solitary memento is now an exhibit at the Musée Holocauste Montréal (Montreal Holocaust Museum) which will host the book launch for Fania's Heart this weekend.  Not since Second Story Press's publication of Hana's Suitcase (named the Ultimate Silver Birch Book in 2014) will a story of a historical artifact of the Holocaust touch readers with such sadness and humanity.  Author Anne Renaud who effortlessly weaves stories based on history (including the recently reviewed Mr. Crum's Potato Predicament) reveals so much about a mother's relationship with her child and her past, as well as about her own courage and fortitude that Fania's Heart could be envisioned as an illustrated documentary, not just a piece of creative non-fiction to inform and enlighten. Like the little heart that represents so much more than the few words inscribed on pages created out of sacrifice and secrecy, Fania's Heart is a token of appreciation, realistically but emotionally illustrated by Richard Rudnicki, from a time of war atrocities and a time of familial safety.

From Fania's Heart by Anne Renaud, illus. by Richard Rudnicki

Fania's Heart: Book launch (Montreal, QC)

The Montreal Holocaust Museum
(current home of the historic object highlighted in the book) 

and 

Second Story Press

host

the book launch 

for 

Fania's Heart

Written by Anne Renaud

Illustrated by Richard Rudnicki

Second Story Press

978-1-77260-057-5

32 pp.

Ages 7-10

March 2018

on

Sunday, March 25, 2018

2 p.m. Guided tour of museum
3 p.m. Reading by author Anne Renaud and book signing

at

The Montreal Holocaust Museum
5151 ch. de la Cote-Ste-Catherine
Montreal, QC

Here is the blurb about this lovely illustrated true story–which I will review tomorrow–as posted on the publisher's website:

A tiny birthday card, crafted against all odds within the confines of Auschwitz.

Ten-year-old Sorale discovers a tiny heart-shaped book among her mother’s belongings. Its pages are shaped like four-petaled flowers, upon which are written words in languages Sorale does not understand. Who wrote these words? Where did the heart come from? Why has her mother never mentioned this tiny book before? 

Fania’s Heart reveals the true story of the crafting of the heart, against all odds, within the confines of Auschwitz, and of the women of immeasurable resilience, courage, and loyalty who risked their lives for Sorale’s mother, their friend.

Retrieved from https://secondstorypress.ca/kids/fanias-heart on March 21, 2018.

Eden Mills Writers' Festival: 2018 Poetry Contests for young people

Eden Mills Writers' Festival, one of Canada's foremost literary festivals, will be celebrating 30 years of wonderful readings by and discussion panels with Canadian authors of literature.  But the Eden Mills Writers' Festival offers more than an extraordinary contingent of authors whose words fill our idyllic valley just outside of Guelph. It also hosts a number of writing contests, two of which target children and young adults.

For each contest, a Canadian resident may submit one poem no longer than a single page by the May 30, 2018 deadline.  All details regarding the entry form, prizes, and submission are posted at https://edenmillswritersfestival.ca/contests/.

For elementary students, young writers may enter one of three age categories:

• Primary (Grades 1 to 3)
• Junior (Grades 4 to 6)
• Intermediate (Grades 7 to 8)

For high school students, teens may submit their poem to one of two age categories:

• Junior Teen (Grades 9 and 10)
• Senior Teen (Grades 11 and 12)

If you are a teacher in Canada or know of a young person who loves to write poetry, please encourage them to submit a piece (only one poem of maximum one-page length per person) by the deadline of May 30, 2018.  This is a great way to get young people in Canada writing purposefully and showcasing their burgeoning talents, with a chance to win $25 (for children) or $50 (for teens).

See you at the Festival!

Blue Rider

 

Written and illustrated by Geraldo Valério

Groundwood Books

978-1-55498-981-2

44 pp.

Ages 4-7

March 2018

At first glance, Blue Rider might appear to be a story about a blue horse and a child with a book. But Blue Rider, like the early 1900s art movement–Der Blaue Reiter–it honours, is more about a rejection of the norms and finding new worlds of expression, whether through art or story.

From Blue Rider by Geraldo Valério

This is the story of one young child living in a sombrely coloured city, just one face in one room in one building in a city rife with buildings. 

From Blue Rider by Geraldo Valério

Even when they leave the building, the child is but one among the throngs hurrying, talking, using cellphones, bustling, bustling, bustling. Then the child spots a book, a book with a blue horse on the cover, in an opening amidst the crowd.  They grab it and take it up to their room.

From Blue Rider by Geraldo Valério

Opening that book and seeing that magnificent blue horse charging across the page similarly plunges the child into new worlds of colour and bold lines and shapes and new landscapes.  Page after page, the blue horse is transforming, its mane effervescing into comets of colour and audacious shape, morphing into its scenery, illuminating, animating and revitalizing all.  Finally the horse and the scene almost become one, a mix of brightness and bliss.  At that point, the child is seen mounted on the racing horse, while the dull room is transformed with new forms of colour.

Blue Rider is a wordless picture book, the story told solely through Geraldo Valério's illustrations.  What the reader takes from the plot of the book and its artwork is very personal.  Blue Rider may pay homage to Der Blaue Reiter, the avant-garde art movement that focused on distorted abstractions and gave intensity and movement through form and colour, but it’s also about the value of going outside of societal norms to embrace new opportunities and ways of seeing.  It gives the message that conformity may be soul stifling and that, when possibilities present, it is important to seize them as they provide chances to move into new worlds and enhance life. The book the child discovers takes them away temporarily but permanently enhances their world and consequently those of others to one of colour and vivacity. As all readers and art lovers know, art–written, visual and more–can give life and soul to those lost in mass existence, just as a book does for a child in Blue Rider.

From Blue Rider by Geraldo Valério

The Better Tree Fort

Written by Jessica Scott Kerrin

Illustrated by Qin Leng

Groundwood Books

978-1-55498-863-1

32 pp.

Ages 4-7

March 2018

Tree houses offer children a refuge from the everyday, a place to dream and create, to escape and grow, and to be whomever they choose, imaginary or their true selves.  But imagine if the building of that tree fort and sharing of it was a shared experience between father and son.  How much better is that true fort than a castle in the sky?

From The Better Tree Fort by Jessica Scott Kerrin, illus. by Qin Leng

 When Russell and his dad move to a new house with a massive maple tree in the backyard, the child suggests they build a tree fort.  Russell’s dad is obviously not a handy man with wood and tools and it takes many trips to the lumber and hardware store and much guidance from others for him to construct the tree fort.  Though it doesn’t have the special features Russell had in his plans like a balcony, slide, skylight and basket for hauling, Russell declares it to be perfect.

From The Better Tree Fort by Jessica Scott Kerrin, illus. by Qin Leng

Then, three houses down, a construction crew marches in and constructs a larger and more elaborate tree fort with all the bells and whistles.  Russell makes the acquaintance of Warren, the boy whose father had ordered the plans and hired the crew, and is invited in to view the spectacular house in the tree.  But is it really a better tree fort than Russell’s?

From The Better Tree Fort by Jessica Scott Kerrin, illus. by Qin Leng

Jessica Scott Kerrin’s message is not really about tree forts.  It’s about relationships, specifically a father and son relationship, and how nothing–not something bigger, better, bolder–could ever compensate for that unique connection and special bond.  Russell’s dad is not the kind who would pay someone to make his son’s dreams come true.  He’s the kind who tries to do it himself, no matter how arduous the task or clumsy and unimpressive the results.  This father and son don’t need to bling out a tree fort when they can enjoy the simple pleasures of peanut butter and jam sandwiches , birding from the open window, or sleeping in bags on the floor.  Warren has no idea no much he’s missing in his “better” tree fort.

I have reviewed numerous books illustrated by Qin Leng and she continues to astound me with the astuteness of her artwork for interpreting the text.  In The Better Tree Fort, Qin Leng’s ink, watercolour and pencil crayon illustrations lend an innocence of task and purpose to the story, making the building of the fort by father for son an intimate endeavour.  The construction of Warren’s turreted tree fort lacks the tenderness of relationship.  Not surprising, when Russell’s dad acknowledges that “There will always be a better tree fort,” Russell knows that it’s his father that is the best component of all.

From The Better Tree Fort by Jessica Scott Kerrin, illus. by Qin Leng

Where's Bunny?

Written by Theo Heras
Illustrated by Renné Benoit
Pajama Press
978-1-77278-043-7
24 pp.
Ages 1-3
March 2018

Author Theo Heras and illustrator Renné Benoit's very young brother and sister from Hats On, Hats Off and Baby Cakes have returned in a story about getting ready for bed and the routines involved with that evening ritual.

The two never-named children (making it easy for any and every child to see themselves in the story and embrace the routines of healthy bedtime practices) know it is time for bed and begin to fulfil their rituals as listed in a "Bedtime Checklist" posted on the book's endpapers. First, they pick up their toys and put them away. Though the text includes the question "Where's Bunny?" young readers will be able to spot the rabbit nestled in a wagon. Next, it's bath time with play time in the warm water that "tickles toes" alongside a rubber ducky and a squirty sheep before washing hair, towelling off and ensuring Bunny is nearby. He is. Then bedecked in the softest of hooded plush robes, the two brush their teeth whilst Bunny watches on. (A second checklist on the back endpapers provides links to dental associations for proper techniques.)

From Where's Bunny? by Theo Heras, illus. by Renné Benoit

Then it's pajamas on, into bed, storytime and singing a song, all only with the big sister (who can't be more than 5) helping her little brother. A final hug and kiss and little brother is off to dreamland snuggling his own soft charge to his cheek.

Theo Heras makes her text simple and readable for those just learning to decipher books, and it is sweetly appropriate for a concept book about bedtime routines. Many concept books tend to be flat, emphasizing only the concept in the simplest of texts. Thankfully Theo Heras does more than just assert a concept. There is a story here, one of sibling affection and a young child's bond to his stuffed animal, that is elevated with Renné Benoit's artwork. The children are so beautiful and angelic with their bright faces and cowlicked hair, and their surroundings are as soft and inviting to the reader as to the children. From Bunny with his carrot-topped hat and the towels and robes and bedcovers, Renné Benoit draws readers into the warmth of the children's home and lives and asks them to stay for a bit.

From Where's Bunny? by Theo Heras, illus. by Renné Benoit

Another invitation that is extended to readers comes by way of Pajama Press's unique picture book format for the very young: a padded cover with rounded corners, and extra-heavy paper. It has been a winner since its first use. More embraceable than the board books typical for the very young, these softly padded books make for a sweet tactile experience to reading. If the affection so captivated in Renné Benoit's watercolour and digital artwork could extend beyond the siblings, it would be sure to include their books. Like the words and the art of Where's Bunny?, the book says, "Hug me" and the very young will be sure to oblige at least once before lights out.

From Where's Bunny? by Theo Heras, illus. by Renné Benoit

Sleepy Bird

Written and illustrated by Jeremy Tankard

Scholastic Press

978-1-338-15785-7

32 pp.

Ages 3-5

March 2018

It's late.  Why isn't Bird sleeping?!

From Sleepy Bird by Jeremy Tankard

Bird is not sleepy, or so he thinks.  He wants to play and party and seeks out each of his animal friends to keep him company.  Each one tells him it's bedtime and recommends a sleep aid like hugging a blankie (that from Fox), or reading a bedtime story (Beaver), snuggling with a stuffie (Rabbit), singing a lullaby (Raccoon) or counting sheep (obviously from Sheep).  But he poohpoohs their suggestions, storming off like he often does (remember, he was Grumpy Bird in his first book).

From Sleepy Bird by Jeremy Tankard

But, after a little while, he is reduced to tears and questioning empathically "WHY SHOULD I GO TO SLEEP?"  His friends, ever faithful, come running and support their dear friend with all the recommendations they'd made earlier, helping their feathered companion find a way to dreamland.

From Sleepy Bird by Jeremy Tankard

What parent doesn't know the child who will not go to sleep?  In fact, they will recognize the crankiness, protestations, and eventual winding down of a little one, and their own ploys used to help a child fall into slumber.  Undoubtedly they will also recognize some comments made by Bird's friends, especially "I thought he'd NEVER fall asleep," as proclaimed by Fox.  But it's Bird's responses that always have me laughing. (I think, Jeremy Tankard, there's a Funny Bird in your future.) Bird's replies to his friends, ever escalating in their intensity, include "Blankie shmankie", "Are you TRYING to give me nightmares?" and to Sheep's suggestion of counting sheep: "HOW CAN YOU GET SLEEPY COUNTING TO ONE?"

But, as clever as the text is and as pertinent as its theme, Sleepy Bird will grab readers and non-readers with its bold and colourful illustrations.  Jeremy Tankard's wacky characters are as familiar now as Beatrix Potter's Peter Rabbit and Mo Willems's Elephant and Piggie and we love everything about them: their vibrant colours, coarse lines and clean shapes as well as their expressive poses and faces. What is more is that Jeremy Tankard's landscapes of splatterings of flowers, rocks, and trees amidst enormous ground-level stars and a moon provide a surreal contrast to a very commonplace story i.e., putting a reluctant child to bed.

So, the next time you have to help little ones find their way to rest, grab those blankies and stuffies and read Sleepy Bird.  I can't assure you that they'll go to sleep but you'll at least enjoy the attempt until they decide for themselves that sleep is best.