My Mad Hair Day

Written and illustrated by Nathalie Dion

Groundwood Books

978-1-77306-511-3

44 pp.

Ages 3-6

September 2021

 

While many admire voluminous hair, Malie thinks her tangled mess of golden locks are a curse, especially when she tries to tame it. But, somehow, through a series of unfortunate events, Malie finds a way to appreciate the hair she has.

 

From My Mad Hair Day by Nathalie Dion

Combing it or hiding it under her cap just doesn't work for Malie. However, as much as she'd like to hide away in her closet, her mother has other ideas, sending the child out on some errands.

From My Mad Hair Day by Nathalie Dion

Contending with the wind that carries her billowing hair away and the rain that frizzes it out, Malie trudges through the town on her errands. Along the way, her hair gathers a menagerie of items as it bumps into them or as they fall into or choose to enter it. There are cupcakes, birds, a lamb, a grand piano and even a child on a tricycle.

From My Mad Hair Day by Nathalie Dion

Overwhelmed by the burden of her tresses, Malie takes a much-needed time out in a park and awakens to a new appreciation of her hair, courtesy of the cache within.

 

From My Mad Hair Day by Nathalie Dion

Of course My Mad Hair Day is a little silly but it's based in a whole lot of reality for those with wildly curly hair, especially if it's also long. I see from her head shots online that author-illustrator Nathalie Dion too has lovely blonde curls and I suspect that she wrote this, her first picture book as author and illustrator, from personal experience. Like a tall tale, Nathalie Dion starts with a germ of reality, that of dealing with unmanageable hair, and blows it up to epic proportions, from the child just trying to comb her hair to absorbing the shock of a falling piano and a lamb confusing the curls for its mother. Then with her watercolour and digital art, Nathalie Dion bolsters that wackiness with extraordinary hair that monopolizes the scenes as it does Malie's life. (That one illustration, seen above, of Malie's mane extending the length of three houses is very telling.) I'll bet this is exactly what children with long curly hair appreciate each morning as they struggle to tame their locks, undoubtedly often throwing their hands up in defeat. 

But Nathalie Dion does not leave Malie defeated. She doesn't let her wallow in her copious hair and frazzle her into gloom. Instead, a "time-out" helps the child gain a fresh perspective on the marvel that is her hair and reach a new level of self-acceptance, something most of us need to learn for ourselves.

• • • • • • •

A French language edition, titled L'ébouriffée, has also been released this month from Dominique et compagnie.

The Cow Said Boo!

Written by Lana Button

Illustrated by Alice Carter

Pajama Press

978-1-77278-216-5

28 pp.

Ages 4-7

September 2021

The cow says, "Moo." Every child knows that. But what does it sound like with a stuffy nose? Disastrously, this cow learns that it's "Boo!"

From The Cow Said Boo! by Lana Button, illus. by Alice Carter

Judging by the falling leaves and the ripe pumpkins on the ground, the cow has caught a cold in the autumn. Clutching her tissue box and stumbling around in misery, she crashes into a clothesline from which a white sheet falls and shrouds the poorly cow.

From The Cow Said Boo! by Lana Button, illus. by Alice Carter

When she approaches the other farm animals–a goat, a cat, a horse, a rooster and a pig–at breakfast, her "Boo!" and sheet-covered form sends them into a tizzy, convinced the farm is haunted.

Saddened, the cow goes off by herself to rest and recuperate. But as the other animals sleep, except for the infirmed cow, a fox sneaks onto the farm. Knowing she must do something to save her friends, she uses her altered voice and sheet disguise to scare it away, and become the hero they needed, even if she says, "Boo!"

From The Cow Said Boo! by Lana Button, illus. by Alice Carter

Lana Button gives us a story in which a difficulty becomes a blessing, reminding young readers that face-value is just that. Sure, the cow looked like a ghost and frightened her friends with her nasally voice but she used that to her advantage to help her farm pals in the end. Ultimately, they appreciate her efforts, cheering her and even nursing her back to health, though they all catch their own colds and speak with transformed voices. (They would be wise to follow the illustrated instructions on the back end-papers for scaring away colds by washing hands.) Lana Button gives us some silliness and some wisdom, a great way for young children to learn important lessons like how to keep colds at bay and not being too quick to judge.

Ottawa's Alice Carter created her art with coloured pencils, watercolour and digital media to give The Cow Said Boo! the simplicity and mischievousness that speaks to young children. They know about getting colds and how it feels but Alice Carter makes it more goofy than ridiculous and definitely less miserable than the common cold. From her blue skies and sickly yellow green fields–yes, sickly is a colour–there's some subtle messaging but the animals are the stars with their brightly-hued coats and cartoonish faces and forms. Moreover, because young children are familiar with animals and their sounds, especially on farms–even if they've never visited a rural community–Alice Carter's depictions of Lana Button's characters will make them smile.

The cow may have had the misfortune to get a cold but she had the good fortune to turn it into a lucky break for her friends, even if they'll be in bed sneezing and coughing soon enough too.

Grandfather Bowhead, Tell Me a Story

Written by Aviaq Johnston

Illustrated by Tamara Campeau

 Inhabit Media

978-1-77227-297-0

28 pp.

Ages 0-3

September 2021

Grandfather Bowhead, Tell Me a Story is both love song and lullaby, wrapped up in an endearing dialogue between grandfather and young offspring. 

From Grandfather Bowhead, Tell Me a Story from Aviaq Johnston, illus. by Tamara Campeau

As a young bowhead whale asks their grandfather to tell them about the wonderful things he has experienced in his 200 years of life, Grandfather Bowhead recalls the marvels of the northern lights, of the animals he's met and friends he's made, of giant icebergs, of geese who travel halfway across the world, of the excitement of swimming mighty currents, and of the hard work he faced. With each request for more tales from Grandfather Bowhead's life, the calf, whom the grandfather calls Little Arvaaq, gets a glimpse of excitement, survival, appreciation and experience. But with each account, Grandfather Bowhead always admits that the wonders of Little Arvaaq are superior and preferable.

From Grandfather Bowhead, Tell Me a Story from Aviaq Johnston, illus. by Tamara Campeau

Grandfather Bowhead, tell me a story
of something amazing you have seen.

Little Arvaaq, I’ve seen walruses dive into the
very depths of the ocean to find clams to eat,
but that does not compare to the depth of my
love for you.

From Grandfather Bowhead, Tell Me a Story from Aviaq Johnston, illus. by Tamara Campeau

While focusing on an intergenerational relationship, Nunavut's Aviaq Johnston is still able to highlight the extraordinary life of the bowhead whale which is thought to be the longest-lived mammal on the planet. Still, with all the wonders the elder bowhead has witnessed, the wonder that is his Little Avaaq is greater. With reverence and adoration, Grandfather Bowhead tells his stories in richly emotive words but always with the caveat about this bowhead calf. 

Grandfather Bowhead, tell me a story
of the sweetest thing you have seen.

Well, Little Arvaaq, in all my two hundred years
I’ve seen everything you can imagine,
but nothing compares to the sweetness of
your sleeping breaths.

The depth of adoration, amazement and affection from Grandfather for Little Avaaq is epitomized in Tamara Campeau's profound artwork. Digitally rendered, the illustrations of Grandfather Bowhead, Tell Me a Story are both realistic and dramatic, depicting the greatness of the bowheads and the other sea creatures in an Arctic landscape of deep waters, massive bergs and vibrant northern lights. Tamara Campeau makes her art truthful, grounded in accuracy, but also ethereal, giving a spiritual essence through her use of colour and line that matches Aviaq Johnston's words.

If I was a grandparent, I would love to share this story with a grandchild to verbalize the depth of devotion and tribute extended between grandfather and young in Grandfather Bowhead, Tell Me a Story. After all, such affection should be the standard for all young.

The Serpent's Fury (A Royal Guide to Monster Slaying, Book 3): Guest review

 This review was written by guest reviewer Matthew Green

 

 Written by Kelley Armstrong

Puffin Canada

978-0-73527-015-2

352 pp.

Ages 10-14

June 2021

 

 

The Serpent's Fury by Kelley Armstrong is the captivating third installment of the Royal Guide to Monster Slaying series. It’s just as exciting and action-packed as the previous two books, featuring many of our favourite characters as well as some new ones!
 

The Serpent’s Fury tells the story of 12-year-old Princess Rowan, Tamarel’s Royal Monster Hunter elect. Rowan and her fearless companions try to figure out why all the monsters, who up until recently lived in a large forest adjacent to Rowan’s country, are migrating south and interfering with the livelihood of Tamarel’s people. This migration is becoming a danger to Tamarel’s citizens who are getting hurt or even killed. While trying to figure out this mystery, Rowan, Dain, Alianor and some other old and new companions also have to deal with poachers who are trying to take advantage of the disruption. While on the journey, Rowan and her friends learn a lot about the intentions of people and their motives. Whether it’s greed or goodwill, even unconsciously, these intentions will show.

Like the two previous books, one of the many things that I loved is that The Serpent's Fury is told from Rowan's point of view and, like the two previous books, I enjoyed seeing Rowan’s thought process. Another thing that I loved in the Royal Guide to Monster Slaying series is that a few pictures of the monsters that we see throughout the book are compiled after the last chapter. It really helps me visualize the monsters in the book.

In the first two books, the squad that goes adventuring primarily stays the same but, in The Serpent’s Fury, a new character is introduced: Trysten! The “kinda-sorta” prince from Dorwynne was sold into slavery because his father didn’t want any competition for the throne. Now, after he has been saved by Rowan and the crew, he is indebted to them. But his loyalty is questioned by Rowan and the others.
 

The Serpent’s Fury explains all of the things that you need to know, in case you haven't read the previous books (A Royal  Guide to Monster Slaying, 2019, and The Gryphon's Lair, 2020), but I think that you would enjoy The Serpent’s Fury more if you first read the earlier two books.

All in all, I really loved this book! For me, it was super exciting to see Rowan react to these situations with her unique perspective that not every monster that you run into has to be killed. Even though it is a book meant for middle school kids, I think it’s a fun book for all ages. Lastly, and all things considered, I would give this book a 9/10.

P.S. I can’t wait for the next book!

~ Matthew Green, 12 years old, Grade 8

A Royal Guide to Monster Slaying Books 1-3

Sunny Days Inside and Other Stories

Written by Caroline Adderson
Groundwood Books
978-1-77306-572-4
176 pp.
Ages 8-12
August 2021

 

The world may be living under the shadow of the same pandemic but our stories are so different. In Sunny Days Inside and Other Stories, author Caroline Adderson takes us into one community, that of a Vancouver low-rise apartment building, and shares the stories of its residents from the eyes of its youth.

Sunny Days Inside relates the story of Danila's family who were finally going on a plane holiday to Días de Sol (Sunny Days) resort in Baja, Mexico, courtesy of her grandmother. Because of the disparity in wealth between their family and her mother's sister, a woman who travels extensively, the holiday becomes a source of conflict, with the children's aunt heading out on a cruise days before they leave. Then the pandemic hits. Danila's family makes their own indoor holiday but it's tinged with sorrow and guilt when her aunt gets COVID-19 on the ship.

Brothers Alek and Ivan decide they're going to become cave men, after all the barbershops close, in the story How to Be a Cave Family. All the strategies that Palaeolithic beings used to survive, from being afraid of everybody, to hunting and gathering and developing their own language, become their guide to getting through the pandemic.

In Reo and Juliet, Grade 7 peers from apartments 3D and 4B become friends across their balconies as Reo, the athlete, struggles with how to train and Juliet works at overcoming her shyness.

In the following four stories–I Like Your Tie, The Entrepreneur's Bible, The Two Harriets, and The Incredible Escaping Bra Man–young people are challenged with parents who are front-line workers, or those who have lost their jobs or closed businesses, or those impacted by illness, including cancer and anxiety. The kids make new friends, become spies and save a resident's life, and face their own fears about the virus, their families and friends, and their new realities. And it's all while adhering to lockdowns and pre-vaccine protocols.

In the final story, Imagine, the young residents and one special one come together in a socially-distanced and rebellious act that brings them together safely and outside.

Caroline Adderson has always written powerful stories (e.g., Very Serious Children, 2007; Middle of Nowhere, 2012; Norman, Speak!, 2014), though with a smidgen of humour that never distracts from serious issues like abandonment, parenting, foster care, and now COVID-19. Told from a variety of perspectives, the pandemic is viewed as an adventure, a source of fear and anxiety, an opportunity, or even a challenge. We've got kids who worry about their parents, who become superheroes, and those who gain perspective on their pre-pandemic lives. They are all different, as are their stories, but somehow young readers will recognize every one them and their issues, sure to see themselves within. These middle-graders are shy and athletic, Deaf and hearing, silly and serious, anxious and confident. Whether annoyed with a younger or older sibling, cooperating with working or non-working parents, cheering the lack of haircuts, or finding new ways to communicate without congregating, these kids are living through this pandemic. In fact, they're staring it in the face, mask securely on and two metres apart, and reclaiming their lives, albeit new configurations of them.

Learning My Rights with Mousewoman

Written and illustrated by Morgan Asoyuf, Ts'msyen

Native Northwest

978-1-55476-6260

22 pp.

Ages 3-6

September 2021

Learning lessons from elders is an important part of many cultures. Elders have the wisdom of the ages and the heart of the people, having seen and heard much. When an elder is not available, important figures like Mousewoman, a grandmother figure in Northwest Coast Indigenous cultures, can share their wisdom. Here, in author-illustrator Morgan Asoyuf's second board book for young children, Mousewoman imparts her knowledge of children's rights and those of Indigenous Peoples to little mice.

From Learning My Rights with Mousewoman by Morgan Asoyuf, Ts'msyen

Rich in the Northwest Coast art style, Morgan Asoyuf depicts Mousewoman instructing little ones of their rights to be loved, to safe touch, to food and clean water, a safe environment, and shelter. They have the rights to education, to play and to rest, and to arts and culture. They have the right to express themselves and to learn the dances and stories and traditions of their cultures too.

From Learning My Rights with Mousewoman by Morgan Asoyuf, Ts'msyen

The lessons of children's and Indigenous Peoples' rights in Learning My Rights with Mousewoman may be paramount but sadly they need to be reiterated globally to parents, to governments, to communities. By giving young children a basic understanding of their rights, Morgan Asoyuf will have given them voices to demand those rights for themselves. Moreover, by wrapping those messages about rights in the traditions of Indigenous cultures–she herself is Ts'msyen (Tsimshian)–Morgan Asoyuf reminds us all of the dereliction of many in helping to meet the rights of Indigenous children, here in Canada and elsewhere. Do they all feel safe and secure? Do they have clean drinking water? We want the answers to always be yes, but are they?

From Learning My Rights with Mousewoman by Morgan Asoyuf, Ts'msyen

But Morgan Asoyuf's message in Learning My Rights with Mousewoman elevates the story from an information book about important conventions that were ratified in the United Nations Convention on the Rights of the Child as well as those of the UN Declaration of Rights of Indigenous Peoples to an extraordinary concept book. The message is clear but the artwork and Indigenous theme make it incomparable. By connecting the rights of children and Indigenous people with her distinct art style, Morgan Asoyuf, an artist whose work also includes jewelry and carving, ensures that Indigenous children are more than acknowledged; they are seen and heard. All children will benefit from an understanding of their rights but Indigenous children will be given words and meaningful illustrations to connect those messages in Learning My Rights with Mousewoman.

From Learning My Rights with Mousewoman by Morgan Asoyuf, Ts'msyen

The Forest of Stolen Girls

Written by June Hur

Feiwel and Friends

978-1-250-22958-8

384 pp.

Ages 13-18

April 2021

 

Driven to find the connection between the Forest Incident, in which his two daughters were found near where a young woman was killed, and the disappearance of 13 girls since then, Detective Min Jewoo pursued an investigation onto the island of Jeju in early 1400s Joseon (Korea). But the detective goes missing, and now his daughter Min Hwani, 18, returns to the island of her birth to find her father and perhaps reconnect with her younger sister, Min Maewol, now 15, who was left on the island to apprentice with Shaman Nokyung five years ago. Still, how can Hwani investigate on an island rife with superstition, with villagers petrified of losing their daughters to an unknown menace in the Gotjawal Forest or being selected as tribute women for Ming China, and stay safe herself while trying to work with her angry sister, resentful of her abandonment and mistreatment by her family? Having learned much from her detective father, Hwani becomes the investigator, probing the disappearance of the missing young women, and the Forest Incident, as well as his disappearance. Who she can trust or doesn't differs greatly from that of Maewol but the two sisters find a way to come together and delve into the mystery of the missing and the suspicious man in the white mask.

I do not want to reveal too much about The Forest of Stolen Girls as it is a mystery at its foundation, albeit a historical one in a unique time period. Just as she did in her debut novel The Silence of Bones (2020), June Hur enthrals with her setting as well as her story. With both her books set in the time of the Joseon Dynasty and by also scattering in words unfamiliar to most (e.g., jukjangdo, shin-byung, jeomjip, hanji), June Hur has created a new character of place of which readers will want to learn more. I was constantly looking up more about this historical period, and devoured June Hur's historical note appended to her story, trying to understand the people, their ways of life, their relationship with geographical neighbours (including becoming a vassal state) and the practice of offering tribute women. But within that amazing context, June Hur has woven a story of mystery, of family lost and found. There are countless characters who may or may not know something valuable and some who present facades of compassion and justice while evil lurks in the forest and the villages of Jeju. Who is responsible for taking the girls is but one mystery that needs to be solved, as is the location of Detective Min, and who can be trusted is unknown. Because people are often weakened by their fears and their ineptitude, evil can show its horrific face any time. But evil can be subtle or it can be the stuff of nightmares. Making things right, though, that's what Hwani and others learn is the key.

Doing what is right, it is so utterly terrifying. And yet so freeing. (pg. 307)