This is a Tiny Fragile Snake

Written by Nicholas Ruddock

Illustrated by Ashley Barron

Groundwood Books

978-1-77306-784-1

36 pp.

Ages 3+

February 2024

 

This is a Tiny Fragile Snake is a nature walk, a stroll through different habitats to see a variety of animals but observed through human eyes and through our interactions with them. Nicholas Ruddock, Guelph writer and physician, gives us the perspective of children as they take in a snake, a bear, a hummingbird, a caterpillar, and more as their worlds intersect with ours. In rhyming verse, Nicholas Ruddock lets us see something different along with these children.

From This is a Tiny Fragile Snake, written by Nicholas Ruddock, illustrated by Ashley Barron

The first poem is "Snake" which, while it mentions what the snake eats, is more about the children protecting the snake from being trampled by moving it to a safer place via a coffee cup. Children being benevolent is a theme that also shows up in the poem about the hummingbird that has its beak stuck in a window screen, and a caterpillar saved from a lawnmower, as well as a chipmunk being stalked by a tuxedo cat.

I plucked it from its blade of grass

and placed it on a tree,

and a week ago a butterfly

came by and danced for me. ("Caterpillar")

From This is a Tiny Fragile Snake, written by Nicholas Ruddock, illustrated by Ashley Barron

Some poems reflect how we feel about the animals highlighted, whether disgusted, scared, impressed or something completely different. "Ants" speaks to dissuading ants from ruining a picnic by offering some sugary treats some distance away. "Skunk" suggests to children that, while we might see a skunk as a stinky animal, perhaps the skunk sees us with disdain too. Whether it be hornets, a moose, herons, a red squirrel, or a finch, wasp, worms, or loon, Nicholas Ruddock reminds us that people have a relationship with other animals. This might be because we have imposed ourselves on their habitats, or because they have encroached on ours, but there is an interrelationship as our dynamic worlds merge and separate.

From This is a Tiny Fragile Snake, written by Nicholas Ruddock, illustrated by Ashley Barron

By showing young readers how our actions can impact other species, Nicholas Ruddock demonstrates how we can ensure that those actions are always positive or at least harmless. There is wisdom in getting a raccoon out of house or how to free a loon trapped in ice which is delivered with a gentle awe of these animals and how they behave. There is a respect for them that is both explicit and implicit.

It turned out we were helpless,

there was nothing we could do,

for there seemed a steady stream of them,

and we were only two. ("Hornets")

I've admired Ashley Barron's cut-paper collage illustrations in earlier books that she's illustrated for others (e.g., Up! How Families Around the World Carry Their Little Ones, Chaiwala!, and Granny Left Me a Rocket Ship) and I believe that the texturing that comes with her technique lends itself well to outdoor settings. Like leaves that layer and feathers and fur, scales and petals of texture, Ashley Barron's art is rich in depth and colour, giving a three-dimensionality to the landscapes and their animals.

While This is a Tiny Fragile Snake will entice readers, young and old, to find the poetry in nature and how we interact with it, the poems within also remind us how, when our worlds merge, we can ensure those interactions remain copacetic.

So we gave up, threw up our hands,

defeated by a pest,

and for the rest of summer

she was treated as a guest. ("Squirrel")

2023 Elizabeth Mrazik-Cleaver Canadian Picture Book Award: Finalists announced

On January 31, 2024, IBBY Canada (the Canadian section of IBBY, International Board on Books for Young People) announced the finalists for the 2023 Elizabeth Mrazik-Cleaver Canadian Picture Book Award. The award, established in a bequest from illustrator Elizabeth Mrazik-Cleaver in 1985, honours a Canadian illustrator of a picture book published in Canada in English or French during the previous calendar year.

Congratulations to the finalists for the 2023 Elizabeth Mrazik-Cleaver Canadian Picture Book Award:

 

Do You Remember?
Illustrations and text by Sydney Smith 

Groundwood Books

Reviewed here

Mnoomin maan’gowing / The Gift of Mnoomin 

Illustrations by Joshua Mangeshig Pawis-Steckley

Text by Brittany Luby

Anishinaabemowin translation by Mary Ann Corbiere 

Groundwood Books

Once, a Bird 
Illustrations by Nathalie Dion

Storyline by Rina Singh 

Orca Book Publishers

Reviewed here

The Only Way to Make Bread 
Illustrations by Sarah Gonzales

Text by Cristina Quintero 

Tundra

Skating Wild on an Inland Sea
Illustrations by Todd Stewart

Text by Jean E. Pendziwol 

Groundwood Books

The Song That Called Them Home
Illustrated by Maya McKibbin

Text by David A. Robertson 

Tundra

Reviewed here

A Tulip in Winter: A Story About Folk Artist Maud Lewis
Illustrations by Lauren Soloy

Text by Kathy Stinson 

Greystone Kids

Le village dans la mer
Illustrations and text by Félix Girard 

Éditions de l’Isatis

Waking Ben Doldrums
Illustrations by Byron Eggenschwiler

Text by Heather Smith 

Orca Book Publishers

We Love You as Much as the Fox Loves Its Tail 
Illustrations by Tamara Campeau

Text by Masiana Kelly 

Inhabit Media

Reviewed here

 

 

 

The winner will be announced at the IBBY Canada annual meeting on March 30, 2024.

 

Still My Tessa

Written by Sylv Chiang

Illustrated by Mathias Ball

North Winds Press (Scholastic Canada)

978-1-4431-9623-9

32 pp,

Ages 4-8

January 2024

 

Evelyn is both perplexed and worried. The older child she has always known as her sister is now telling her that they aren't her sister, or her brother. Tessa is her sibling. What does that mean? Is Evelyn even Tessa's sister?

From Still My Tessa, written by Sylv Chiang, illustrated by Mathias Ball

Evelyn sees that Tessa is not herself. Evelyn wants to play with Tessa and take them out of their dark room and make them smile again but she doesn't know how. When she writes a note to the "Best Sister Ever!" Tessa explains to Evelyn that they are not her sister, or her brother, but prefers to be called Evelyn's sibling. They do some stuff together but it's obvious that Tessa is growing up and their interests have changed. They are also burdened with educating Evelyn about their pronouns (they/them/their) and dealing with those who assume they know what Tessa's pronouns must be.

From Still My Tessa, written by Sylv Chiang, illustrated by Mathias Ball

Evelyn wants to learn and she does. After a week, she's using Tessa's preferred pronouns and almost gets a smile from her sibling. But when the family goes for a bike ride, Tessa is again challenged by those who assume their gender is female. Evelyn has no problem informing people they meet that Tessa is her sibling, recognizing that if she can adapt to Tessa's pronouns in a week, others can learn as well. And when their parents introduce Evelyn as a girl and Tessa as non-binary, Tessa's smile finally returns.

From Still My Tessa, written by Sylv Chiang, illustrated by Mathias Ball

The premise behind Still My Tessa goes beyond just recognizing that we should all feel comfortable with the pronouns by which we are addressed. It also recognizes that young children might have to learn about pronouns and being non-binary but that this can be learned with the right teaching. Teacher Sylv Chiang (she/her) finds a sibling relationship the perfect vehicle for addressing the use of pronouns. As a little sister who obviously adores Tessa, Evelyn just wants them to be the sibling with whom she can play and make happy. And by modelling what's she's learned, Evelyn can help teach others what is appropriate for Tessa and all of them. 

 

Illustrator Mathias Ball (he/they) may have had to struggle with enlightening others about their preferred pronouns, and, as such, their depictions of Tessa are truly authentic, reflecting what a child struggling to understand and accept and advocate for themselves with their non-binary status and pronoun preferences would feel. Evelyn is a happy child whose biggest worry is who will play with her, while Tessa is filled with angst. Whether it is becoming a teenager, already a struggle for many, or understanding their non-binary nature, Tessa projects that burden, rarely cracking a smile or venturing from their room and from beneath their headphones. Still, Mathias Ball doesn't make them sullen or angry, but they do make them introspective and solemn. That doesn't mean the illustrations are anything but bright and cheerful and inclusive, ensuring that Tessa and Evelyn both see the joys of their world.

Accepting how we would like to be addressed is an important part of our identities. But it isn't always easy for others to accept the appropriate pronouns or gender designations (even nonconforming ones). Still Evelyn demonstrated that learning can happen and doesn't have to change her relationship with Tessa, except by also becoming their ally now. With a little instruction–Sylv Chiang offers some help understanding of what it means to be non-binary, how to use pronouns, and how to become an ally. With compassion and clarification, every young child can learn to use the correct pronouns as Evelyn did for her sibling and help others to do the same. (And Still My Tessa may even help a few parents learn how to becomes allies for their children.)

The Inside Scouts Help the Kind Lion (The Inside Scouts #1)

Written by Mitali Banerjee Ruths

Illustrated by Francesca Mahaney

Acorn (Scholastic)

978-1-338-89498-1

64 pp.

Ages 4–7

RL 1.0

February 2024 

 

Sanjay and Viv are the Inside Scouts, and they have the superpower to shrink super small and go inside animals to make them feel better. In this first book in this illustrated early reader (RL 1.0) series, the kids must help a lion who is not feeling his best.

Inside Scouts!

Always on call!

To fix big things,

we get super small! (p. 20)

 

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

Ruslan  is a lion who wants to run and play with his cubs, but he is feeling far too tired to do so.  Using some very cool tech, the kids show Ruslan a leak in his heart. Gearing up, the two go in through his nose–though they must be careful not to tickle the sensitive lion–and follow a vein to the heart.

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

The Inside Scouts show young readers how the heart is made up of four rooms, with doors called valves that allow movement of the blood. Though the story is appended with "Fun Facts about the Heart" that describes the pumping of the heart and uses terms like circulates, arteries, veins and chambers, the illustrations are done at such large scale that the anatomical features of the heart are not readily discernible so even the squeamishest of children will have no problems with the artwork. But they will have a sweet introduction to how our hearts work and how those with poorly-functioning ones might feel.

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

Not only will the Inside Scouts help young children understand their bodies, but the series will also make them think about illness and how our behaviours may be impacted by health issues. Whether it's a lion that cannot play with his cubs because of a leaky heart, or a giraffe with an upset tummy or a cheetah with a leg cramp (Books 2 and 3 are out later this year), the Inside Scouts teach and encourage empathy for those who may be suffering.

From The Inside Scouts Help the Kind Lion, written by Mitali Banerjee Ruths, illustrated by Francesca Mahaney

The tale of the kindly lion with a big heart, albeit a leaky one, will delight young readers with its mixture of humour–such as the kids getting sneezed out of the lion's nose with slime–learning and story. Mitali Banerjee Ruths, who also writes The Party Diaries series for the Branches early chapter book imprint of Scholastic, has written a text that is perfect for the earliest readers but challenges them with more sophisticated words in the "Fun Facts about the Heart" section. There is also an activity (Draw Your Own "I Am Kind" Badge) and encouragement to write a story about being kind. With artwork by Filipino-American Francesca Mahaney, who has done a fabulous job of illustrating what could have been a perplexing topic for young children, The Inside Scouts Help the Kind Lion becomes an accessible but bold adventure of colour, shape, and story, and one that will be a hit with readers, teachers and parents.

 

• • • • • • •

The Inside Scouts Help the Kind Lion (February 2024)

The Inside Scouts Help the Brave Giraffe (June 2024)

The Inside Scouts Help the Strong Cheetah (October 2024)

Kaiah's Garden

Written by Melanie Florence

Illustrated by Karlene Harvey

North Winds Press (Scholastic Canada)

978-1-4431-9025-1

32 pp

Ages 5-8

January 2024

 

When a child moves with her family to a new home, she misses her old home at her Grandma's. The house isn't just far away in a new town, it lacks the colour that was part of her grandmother's home. That life came from many things, inside and outside, and, compared to that home, everything feels gray here.

From Kaiah's Garden, written by Melanie Florence, illus. by Karlene Harvey

From the quiet stairs to the backyard of dried-up weeds and flowers, Kaiah can't see anything beyond her feelings of missing her grandmother and her home. But when she hears a voice she senses as her grandmother saying, "Did you forget what's in your treasure box?" Kaiah is reminded of all she'd once enjoyed. In a special box worn smooth by generations of her people, she recalls the beading projects she'd completed with her Grandma. There's her very first, an apple, which brings back memories of an apple tree in the yard and of Grandma's warm hands touching hers to teach her how to bead. There's the sunshine yellow sun she'd beaded, as well as a flower, turtle, butterfly, and more. Her grandmother and her garden may not be there at their new house but Kaiah, with a little help from her mother and brother, knows how to bring her grandmother and more to this new home.

From Kaiah's Garden, written by Melanie Florence, illus. by Karlene Harvey

Melanie Florence, author of the award-winning Missing Nimâmâ and Stolen Words, again shares her heritage with us, teaching us about the importance of beadwork to Indigenous Peoples. (There is "A Note on Beadwork" at the conclusion of the book.) For Kaiah, the beadwork takes her back to her earlier life with her grandmother, learning the skill and embedding memories to help her reconnect with those who came before her. Now, she will use the beadwork for healing her spirit as well as for connecting her with her new home. Those tiny little beads can do so much when used to create and honour.

From Kaiah's Garden, written by Melanie Florence, illus. by Karlene Harvey

Karlene Harvey, a Tsilhqot-in and Syilx illustrator from BC, reminds us that the beadwork of Melanie Florence's story is what is most important. From the colourful and meaningful beadwork that adorns the endpapers of Kaiah's Garden to each of the pieces Kaiah draws from her treasure box, there is life and luminosity that is derived as much from the beads as from the association they endow.

 

Kaiah may believe that all there is a grayness at her new home–well, until she remembers her treasured beadwork–but Kaiah's Garden is nothing but colour. It's bold and beautiful and memorable, just like the treasures Kaiah pulls from her box.

Night of the Living Zed: Q & A with authors Basil Sylvester and Kevin Sylvester

Recently, I reviewed Basil Sylvester and Kevin Sylvester's newest middle grade novel, Night of the Living Zed, a sequel to their wildly successful The Fabulous Zed Watson!

Night of the Living Dead

Written by Basil Sylvester and Kevin Sylvester

HarperCollins Canada

978-1-4434-6920-3 

256 pp.

Ages 8-12

Released January 16, 2024

Review here

 

 

Today, it gives me great pleasure to post a Q & A I did with authors Basil Sylvester and Kevin Sylvester about their new book. 

 

Authors Basil Sylvester and Kevin Sylvester

 

• • • • • • •

 

HK:   Congratulations on Night of the Living Zed. It’s another great mystery embedded with the supernatural and notable characters. Did you experience any challenges in writing a sequel to The Fabulous Zed Watson!?

 

Kevin Sylvester:  We knew the characters well, so writing scenes with Zed and Gabe and the crew was fun. The toughest part, I think, was making it a different mystery with a different feel. I love escape rooms, so used those as inspiration for the types of codes our intrepid duo would have to crack. Then when Basil started writing the letters that lie at the (literal) heart of the story, the emotional side of the mystery began to just fall in place. After that, it felt like the challenge was paying due respect to the type of hidden relationship many people had to have (and still do) to be accepted.

 

Basil Sylvester:  Echoing what my co-author said. We wanted to have a story that doesn’t feel like we wrote it just to bring back characters we liked. There had to be something new. I really like the way the two books compliment (complement? Oh dear) each other. Fabulous Zed Watson had a lot of travel, so it was fun to write a sequel where they are mostly in one place. We also worked hard to make sure you could read it without having read the first one, sort of like a classic mystery series like Sherlock Holmes stories or similar. 

 

HK:   How does your collaboration work? Do you each write one chapter or section of the story, or do you write together?

 

Kevin Sylvester:  In the first book we split up a lot of the work by theme – so related chapters on a specific part of the mystery, or location for that clue, might fall to me. Basil would write the scenes, such as the border scene, where Zed has to face some real fear and discomfort.  But we’d always read the whole thing out loud to make sure there was a consistency of tone and voice. So by the end the whole book was truly a co-written work. We even collaborate on the illustrations.

     This time, I think, was more “both of us at the same time” writing with essentially the same result. But Basil wrote and researched the letters the kids discover… and those are beautiful.

Basil Sylvester:  the first book was much more methodical—we made the best outline I’ve ever made in my life, by far, haha. Then we split up and came back together to write everything out. Night of the Living Zed was a stranger creature. We did a lot more writing side by side but also writing alone—I wrote the letters completely without input, for instance, but as Kevin said, the best part is reading out loud. You instantly get a sense of what works and what doesn’t, especially in the jokes and banter.
 

 

HK:   Plotting any story can be challenging but I wonder if plotting a mystery is especially so. Did you plot out the whole mystery from the outset or did you develop it one step at a time, perhaps with each new room that Zed and Gabe encounter in Glyndebourne Manor?

 

Kevin Sylvester:  We had a general idea a good year before we started writing… so the idea was always cooking in our heads.  Then we tried to decide how the reveal would happen from the presumed mystery (spending three days in a spooky house) to the true mystery (who was Charlotte and why did she build this bizarre house?). So there are two layers happening all the time. I would say that was more fun than tough to figure out. 

     The frustrating part is always when you think you have a good bit and then look at it later, or have someone else look at it, and say the code didn’t make sense, or wasn’t revealed to the reader in a way that they could also solve the mystery. So we tried to make sure that all the clues are there, so that the reader can either go “I saw that coming” or “oh! Now I see what the code was!”. Both offer a fun payoff.

Basil Sylvester:  Oh my gosh I found this really hard to do! I’m not a big mystery reader—I love middle grade mysteries, but I don’t read like Janet Evanovich kind of things—so I really struggled with making stuff plausible and consistent. Kevin is old hat at mysteries so he really helped but making escape room puzzles that made sense and that I hoped the readers would be able to pick up clues on was the hardest part of this book. Also plotting with a co-writer can be hard, especially getting on the same page about the hard and fast rules of the contest. We were working in Scrivener, which allows for research and planning docs, so we made sure to write out the rules early on and referred to them often!

HK:   Though many might not see it, Night of the Living Zed is a celebration of romantic love. Although the two romances had very different outcomes being from different times, they were both triumphant in their own ways. Why did you choose to include these romances in the story?

Kevin Sylvester:  Basil is the best one to answer this, but I will say that I am always intrigued by stories where someone builds something as a living memory of someone, or to honour them.  

     Think Citizen Kane, the Taj Mahal… my Apartment 713.

Basil Sylvester:  Honestly, Sam and Jo were some of my favourite characters in the first book, so I wanted to bring them back. And their wedding sort of works as a plot device for Zed and Gabe to specifically need money, encouraging them to go for the Gylndebourne contest. In terms of the other romance, I loved the idea of a multi-layered mystery. We sort of have that with the first book, where Zed is looking for the manuscript, and along the way they discover a whole supportive community in some unexpected places, showing us that the world is ready emotionally for Taylor’s book.
     In Night of the Living Zed, I wanted to pay homage to historical romantic relationships that weren’t read as such for a long time. I also love the idea that a spooky scary haunted house is actually not scary at all, but beautiful. That it’s just misunderstood, like the romance itself. So I wanted to have layers of meaning, as any good ghost story should.

 

HK:   Music, particularly opera, is a significant element of the story, directing Zed and Gabe’s solving of the mystery of Glyndebourne Manor, but the broad knowledge of opera needed is certainly not derived from Wikipedia. Moreover, your acknowledgements suggest that you both have some appreciation for opera. Are you both opera buffs or did one inspire the other or did someone else boost your awareness of this theatre form?

Kevin Sylvester:  We both love opera, but don’t expect us on the Saturday Afternoon at the Opera quiz anytime soon. I’m partial to Italian operas. Rigoletto and the Barber of Seville get a lot of play in my house. But I also love the Magic Flute… and one of my fave experiences was seeing Maurice Sendak’s sets for the Hansel and Gretel a few years back.

Basil Sylvester:  I mean, growing up with the parents I had, it was inevitable. My dad loved opera and played it ever since I was a kid. So that made me … tolerate it. Then I went to university and took a class on Russian opera and fell in love with Eugene Onegin, Boris Godunov, The Nose…I even let Kevin put some Wagner in this one.

 

HK:   I’m a big fan of humour and Night of the Living Zed is filled with it, from puns and wordplay to silliness and blunders. Do you each have your own specialty when it comes to embedding humour in the story, whether through voice or actions?

Kevin Sylvester:  We are a family of joke-tellers and punsters. This includes our immediate family and friends. So the scenes with back-and-forth dialogue and jokes is a glimpse into the dining room of our houses on any gathering. Noisy. Boisterous. Snarky. Then Basil and I test-drive the jokes on eachother to make sure they work.

Basil Sylvester: I’m not as good at jokes, but growing up, especially at my grandparents’ houses, it was jokes zinging across the dinner table at breakneck speed, so I was always trying to keep up. I’m better at comebacks, so Kevin will often start riffing and then I join in. We are also tough critics, so we would cut jokes if only one of us was laughing. I would say I lean more towards silly gestures, and Zed is fun to write because they are very boisterous and always moving.

 

HK:   I know the book was released in January but it’s going to be a popular story come October with its Halloween theme. Zed obviously goes big for Halloween, ensuring the best neighbourhood Halloween with a pre-Halloween inspection at all homes. Is Halloween as big a deal in the Sylvester house as it is for Zed?

Kevin Sylvester:  All I can say is that you can go back and look on my Facebook page where we do a themed Halloween porch each year. This year was a haunted construction site. Last year was Scar-bucks coffee shop. The year before that was a haunted greenhouse… you get the idea. Christmas is great, and man do I need bright lights by late December, but dressing up and playing make-believe? Halloween can’t be beat.

Basil Sylvester: We never did Halloween-O-Ween, but it is 100% inspired by our love of Halloween and our dedication to creative and fun porch displays every year. It’s also a holiday that really resonates with me, since you can dress up and be someone else and get creative, which was a great outlet for me figuring out my identity in a low-stakes and fun way.

 

HK:   The illustrations add much to the story, just as they did in Kevin’s Neil Flambé series. I recognize Kevin’s style but wonder if Basil is also an artist and contributed to the art in Night of the Living Zed.

Kevin Sylvester:  Yes. Certainly in the sense that we work on the illustrations together. I’m often drawing as we write and read passages out loud. Basil is my immediate art director and continuity officer (need to make sure Zed is wearing the same sweater in connected timelines). Also, Basil is in charge of the lettering on the spine and covers.
 
Basil Sylvester:  I’m not an illustrator but I do consider myself a creative person. I like crafts and DIY. As Kevin says, I’m the first art editor and can be pretty critical. He shows me all his illustrations before submitting them and I often have notes. I also came up with the ideas for both covers, and did the silly hand lettering on the covers and spine.

From Night of the Living Zed, written by Basil Sylvester and Kevin Sylvester, illustrated by Kevin Sylvester

HK:   My favourite illustration of Zed is the one on page 68 when they are in their pumpkin onesie. Do you each have a favourite illustration of Zed from Night of the Living Zed?

Kevin Sylvester:  SPOILERS…. My fave is the one of Hyacinth as she’s about to turn the faucet on the final challenge. She looks both anticipatory and a little fearful. After all they’ve been through, and learned, will this prove to be the right decision? Or will everything come crashing down?

     It’s quiet and active at the same time.

Basil Sylvester:  I love this question! I really like the one where they’re excited to say hi to the ghost. But the pumpkin onesie is great too. Also any illustration where they have their coffin backpack. I have a friend who has one and I messaged them the second they posted a picture of it, asking if I could include it for Zed in the book because it was just so perfect!

 

HK:   Now that we know that The Fabulous Zed Watson! will not be a stand-alone and that Zed and Gabe are becoming known for solving mysteries, are there plans for additional books beyond Night of the Living Zed?

Kevin Sylvester:  Hmmmmm. We are always ready to cook up new missions for Zed and the gang. But that is, of course, a team decision involving a lot of people. If enough kids read the books and want more… I’m willing and able!

Basil Sylvester:  Who can say? It’s not off the table. We have a lot of fun writing these, so I hope you have as much fun reading as we do writing!

• • • • • • •

I've so enjoyed reviewing Night of the Living Zed and learning more of Basil Sylvester and Kevin Sylvester's experiences with writing this sequel to The Fabulous Zed Watson!

Many thanks to Basil Sylvester and Kevin Sylvester for answering my questions about Night of the Living Zed. And thanks also to Rebecca Silver, Senior Publicist at HarperCollins Canada, for facilitating this interview and sharing a review copy of Night of the Living Zed.

 

40 Days in Hicksville

Written by Christina Kilbourne

DCB

978-1-77086-715-4

264 pp.

Ages 12+

October 2023

 

Moving to Clarendon with her mother to live in her grandparents' old home was supposed to give Kate Cooper a clean break from living in the city. Little did they know that she'd just find a new trouble with classmate Zach Whitchurch. Yeah, she's definitely safer in Clarendon a.k.a. Hicksville. Not. 

When Kate and her mom Sally move into the Cooper place next door, Zach is smitten. And Kate, determined to convince her mom Sally that she's making an effort, let's Zach show her around. When he points out Peter Goheen's property, warning her that he is known to be cruel and maybe even dangerous, Kate reveals that he is her grandfather, though she's never met him. When they venture onto his property to introduce Kate, Pater Goheen is less than welcoming and warns them against trespassing again. That doesn't deter Kate who, with Zach, discovers a cave-like crevasse which they investigate after midnight so that she can make a video. What they discover deep inside are the remains of two bodies. 

 

Zach's dad, a detective in Clarendon, reveals that a wallet in the jeans of one is that of Sally's fifteen-year-old brother James who disappeared in 1982 along with his friend Luke McLeod. For the first time, Kate learns about her uncle and his disappearance and about Sally's troubled family life because of her mean drunk of a father. Though Peter Goheen was questioned, Kate's dad Mitch provided an alibi for his father. And without bodies, it was impossible to know the truth. But that was then.

Are these the bodies of James and Luke? What happened to them? Who did it and why? 40 Days in Hicksville could be a true crime podcast, unravelling the story through Kate and Zach's eyes–chapters are alternating perspectives of the two teens–and with the twists and turns that often come with a thriller. Christina Kilbourne, author of The Limitless Sky, Safe Harbour and Dear Jo, takes us to a small Ontario town as if the setting for an episode of Dateline or 20/20, unravelling the mystery with each interview and piece of evidence and investigative step of the police.  And, as in those in-depth investigations of the newsmagazine shows, the trajectory from missing person to justice is not a straight line. There are those who keep secrets, those who hide truths, those who lie, and those who grieve. There are those who are determined to make things right and find justice. There is danger and revelations, standstills, and action. With a variety of characters, some who are aggravating, others naive, some scared, others aggressive, 40 Days in Hicksville remind us that small towns are not always boring communities in which nothing happens. Sometimes they are seething with secrets and dangers and history that are only revealed when someone from outside arrives. Kate may not have wanted to be in Clarendon but her first forty days in the town her father called Hicksville are as thrilling as the urbex videos that got her in trouble in the city. Fortunately, Christina Kilbourne's "Epilogue" reveals that this adventure has a far more constructive outcome for both Kate and her community.