I Lost a Day

Written and illustrated by Briana Corr Scott

Nimbus Publishing

978-1-77471-363-1

32 pp.

Ages 4-8

April 2025 

 

For many of us, losing a day is a negative event. It means that we lost 24 hours in which we could have accomplished something or been more present for others or ourselves or enjoyed life. It could be losing it to strong feelings or procrastination, to futility, defeat or discombobulation. But Briana Corr Scott shows children that the loss of a day can bring positives of calm, greater clarity, effectiveness, and more.

From I Lost a Day, written and illustrated by Briana Corr Scott

In rhyming verse, Briana Corr Scott gets into the heads and hearts of children as they are overcome with anger or rage or sadness.

When my head holds a storm

That blocks out the light

 

When my hands are hard fists

That are ready to fight...

When those times come, each finds a way to cope, whether it be hiding under their sheets, listening to the rain, reading, sketching, playing music, running, or just being outdoors. Everyone is different but they choose strategies that work for them to help be distracted from the anger or the sadness or to help it dissipate. 

I smell the cool earth

As the wind moves the leaves

 

A piece of my sadness

Floats away on the breeze. 

From I Lost a Day, written and illustrated by Briana Corr Scott

The strategy that touched me the most was the untangling of a ball of yarn as it is a metaphor for the undoing of a lost day. After all, a lost day is but one day among many.

Yarn that is tangled

Can always be wound...

 

In the days that I lost

It was me that I found.

The title of I Lost a Day caught me off-guard with the discouraging tone I thought it set for the book. It is but a title. That title and the first illustrations of the book are just a preamble to explain what children can do to deal with big feelings of anger and depression, irritability and anxiety. It sets up the story to be one of enlightenment, in other words one of learning to see differently and to feel the lightness that comes of self-care. Briana Corr Scott, whose book While You Were Sleeping I reviewed in 2023, has a delicacy to her storytelling and her artwork. Her author's note details a personal connection to the story of I Lost a Day–in addition to suggestions for other activities to help cope with those lost days–and I believe that this connection is what has helped her be sensitive and comprehensive in the strategies she recommends to children to try.

From I Lost a Day, written and illustrated by Briana Corr Scott

That awareness of the enormity of those feelings and that potential ways in which they may be addressed and successfully waived come through in Briana Corr Scott's illustrations. She uses gouache and watercolour to create artwork that portrays those overwhelming feelings that can cause a loss of days, days of raging storms and devastating anguish. These images are powerful in their darkness and their influence to dominate. But then Briana Corr Scott shows children finding the stillness in rain and reading and the quiet in running and drawing, and recovering themselves. 

The sadness can't catch me

I'll pass it right by

 

My body feels lighter

When I sit and sigh.

This is not a how-to book to defeat depression or anger. It is however a story that appreciates how time may be lost to feelings that overwhelm and offers possibilities for coping with no judgment and no obligation to conform or control. Briana Corr Scott, instead, shows kindness and understanding with the hope that we might find ways to care for our mental health that work for us.

Jackie's Drawing

Written by Andrew Katz

Illustrated by Tony Luzano

CrackBoom! Books (An imprint of Chouette Publishing)

978-2-898025679

32 pp.

Ages 3-6

May 2025 

There have been more than several novels, picture books, and short story collections that have been based during in the early months of the COVID-19 pandemic with its lockdowns (stay-at-home orders) and other measures. Though never mentioning the pandemic, Jackie's Drawing sees a child's perspective on the resulting isolation and a rebound to normal in terms of nature's response and her own inspiration for creativity.

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

Jackie's story begins with a rusty haze befalling her community. This haze forces everyone to stay indoors and to isolate from everyone and everything, including the mountain she'd often visit for inspiration for her art. At first, Jackie is still able to draw, gathering ideas from memory and her own experience. But, with time, it becomes more difficult as she had "lost the heart to do anything."

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

But one day a flash of silver in the canal beneath her window gets her attention. An unexpected dolphin has appeared, and with it a menagerie of other animals, from a bald eagle to moose and deer and foxes who have begun to make their way onto the streets, into the air, and into the water where only people had ventured. Jackie is enthralled and takes up her drawing pencils, determined to draw them all.

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

But as she draws them all, a wonderful dragon with antlers, a tail fin and feathers appears and transports her to the mountain where her drawing inspiration always lived.

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

While Jackie's Drawing speaks to a child's loss of enthusiasm for her drawing with her separation from nature, Andrew Katz's note at the conclusion of the story reminds us that the natural world too responded to the pandemic or could have. So, as Jackie had lost her creative muse the longer the "haze" drenched her community, the animals who normally would have been relegated to outside that community were able to find their way onto the quiet waterways, skies and land within. And for Jackie to find that nature was coming to her to awaken her imagination was a lovely positive during a dark time. Of course, it is still Jackie's imagination that helps her create a chimera–Andrew Katz discusses this in his appended note too–of the animals she sees, allowing her to travel in a flight of fancy to her beloved mountain to re-experience the joy of drawing outdoors.

 

Andrew Katz and Tony Luzano have previously collaborated on a picture book, I Want to Be Super!, so there seems to be a harmony of styles that works. Jackie's Drawing is again about an imaginative kid and Tony Luzano's digital art reflects every nuance of a child who is enthusiastic but then loses that enthusiasm when troubled with isolation and then finds a way to regain that passion for her art. His use of bold colours and distinct animals places the emphasis on the wonders outside and in Jackie's artwork, not on the grim haze that permeates their world for such a long time. He finds the light for her and for the reader to get beyond that haze of bleakness. 

The first year of the pandemic was especially difficult for many people but for children whose creativity was stifled, it might have been more challenging. Finding new things to do helped many but only coming after feeling the loss of their routines and familiar activities. Finding their new normal involved grief, courage, and imagination. Thankfully for Jackie, she found her ability to express herself from the very same source of encouragement she'd always relied upon, just in a different configuration.

The Bigfoot Field Guide to Campers (and Other Mysterious Creatures)

Written and illustrated by Jami Gigot

Kids Can Press

978-1-5253-1263-2

36 pp.

Ages 4-7

Releases May 2025

 

Ah, the mysterious Bigfoot. Mythical beast or elusive recluse? Whatever it is, many fear an encounter with the massive creature. But what if it encountered us? Does it have a similar perspective?

From The Bigfoot Field Guide to Campers (and Other Mysterious Creatures), written and illustrated by Jami Gigot

In its field guide to mysterious creatures, Bigfoots believe that there "is one species that is so dangerous, and so treacherous, that Bigfoots have come to fear them above all others..." It's the nasty camper. Ever since campers invaded the home of the Bigfoots with their click-flashers, and moved their rock collections, peed in their gardens and contaminated their waters, Bigfoots have been forced to move deeper into the forests. But the Bigfoots have a guide to help each other deal with these troubling visitors. 

From The Bigfoot Field Guide to Campers (and Other Mysterious Creatures), written and illustrated by Jami Gigot

First step for Bigfoots is identification, easily accomplished by hairless faces and limbs, odours and noises. Once identified, the aim is to avoid being seen. In the case of the Bigfoot giving this advice, everything goes awry when a young camper spots the Bigfoot as he spots her. Guideline #3 recommends camouflage if spotted but he's kind of big, and the child finds him. And though he tries to remain calm and play dead–these are Guidelines #4 and #5–her tickling makes it difficult to remain secretive. 

Bigfoot knows to never eat a camper's food or let them use their click-flasher on you and to never let their guard down on a camper–they are NOT warm and cuddly creatures–but things take a turn when the camper becomes distressed recognizing the absence of the other campers. Can Bigfoot follow all the guidelines, or will he be able to show kindness to an upset child who sees a friend in the big guy and not a monster?

From The Bigfoot Field Guide to Campers (and Other Mysterious Creatures), written and illustrated by Jami Gigot

Vancouver's Jami Gigot may have meant this picture book as a tongue-in-cheek look at how we perceive the mythical Bigfoot but by turning it around and helping us see how Bigfoots may perceive us, Jami Gigot gives us a lesson in tolerance and kindness. It starts as a story of conflict between Bigfoots and campers, but it flips and opens up into a story of acceptance. Both Bigfoot and the child see beyond their fears and misconceptions and find something special that is mutually beneficial. 

Jami Gigot, who also wrote and illustrated Star Boy: Inspired by the Life and Lyrics of David Bowie, Imagination Vacation, and The World in Our Backyard, keeps the simplicity that would come of a homemade field guide. Her art, rendered in coloured pencil and digital paint, keeps a sweetness to Bigfoot–he looks more scared of the camper than she does of him– as well as to the goofy, young campers who may not have learned to be intolerant or fearful of others who are different from them. 

Whether Bigfoot or a camper, there may be a surprise in the woods for you. Be prepared with compassion and tolerance and you might just have an unexpected encounter with a new friend. But shhh! Let's keep that a secret.

Keep Our World Green: Why Humans Need Gardens, Parks and Public Green Spaces

Written by Frieda Wishinsky

Illustrated by Sara Theuerkauf

Orca Book Publishers

978-1-459838383

96 pp.

Ages 9-12

For release May 13, 2025

 

Tomorrow is Earth Day 2025 and, though Keep Our World Green will not be released for a few more weeks, it's appropriate to speak to the book's messaging about conservation and protection of green spaces and their importance for our physical health, mental health and community.

As long as you have a garden, you have a future, and as long as you have a future, you are alive. ~ Frances Hodgson Burnett

Frieda Wishinsky starts her book with a look at the history of green spaces, whether they be when our ancestors moved from hunting and gathering to growing their own food, or the establishment of gardens. She highlights particular historic ones like the ancient gardens of Egypt and Japan to the classic gardens of Padua and Versailles and gardens from the 20th century, and their value in protecting diversity and endangered species, and in the development of medicines and in celebrating religious beliefs.

From Keep Our World Green: Why Humans Need Gardens, Parks and Public Green Spaces, written by Frieda Wishinsky, illustrated by Sara Theuerkauf

Next, Frieda Wishinsky delves into green spaces of parks that are known for their beauty, from Central Park in New York City to Vietnam's Cat Ba National Park in Vietnam.

From Keep Our World Green: Why Humans Need Gardens, Parks and Public Green Spaces, written by Frieda Wishinsky, illustrated by Sara Theuerkauf

We may get solace and nourishment from these spaces but they also inspire creativity from visual artists, musicians, and writers. There is the famous art of Claude Monet, Frida Kahlo, and Georgia O'Keefe, and the words of poets and storytellers from Henry David Thoreau to E. B. White. Composers like Vivaldi found inspiration in nature as did contemporary musicians like Joni Mitchell and Michael Jackson.

From Keep Our World Green: Why Humans Need Gardens, Parks and Public Green Spaces, written by Frieda Wishinsky, illustrated by Sara Theuerkauf

But our green spaces, both natural and created, are in danger. From our use of chemicals to land development and climate change, our green spaces and their elements, like the bees and birds, are challenged. Frieda Wishinsky has some suggestions for young people as to how they might help based on how others have heeded the call for conservation and environmental protection. Whether you start small with cuttings or planting your own or a community garden, there is always something that a young person, and the adults around them, can do to help keep our world green.

From Keep Our World Green: Why Humans Need Gardens, Parks and Public Green Spaces, written by Frieda Wishinsky, illustrated by Sara Theuerkauf

Frieda Wishinsky presents a varied but comprehensive look at green spaces, whether created by landscape architects, humble home gardeners or the natural world. She celebrates their beauty and their virtues, recognizes their role in keeping us happy, enlightened and healthy, and inspires us to ensure their longevity and security. It's a big order to include all those aspects in a book on green spaces but Frieda Wishinsky, a lover of gardens and parks and natural spaces (see for example, A Flower is a Friend), gives readers enough to whet their interest and how to find more information. (A list of resources is provided.)

 

While many photographs of people and places are used to support the text, Vancouver's Sara Theuerkauf provides illustrations of people and places. She ensures that these green spaces are bustling with life, whether it be of the wild variety, of the humans enjoying the space, or of the green life that exudes its own spirit. 

Depending on where you live, spring may be budding out or imminent, and hopefully we'll all be thinking about what we can do to celebrate the green spaces at home and abroad, and to ensure they are with us for a long, long time. Frieda Wishinsky encourages readers to see the green spaces, to acknowledge their power and importance, and to take actions, even in humble and little steps, to make sure those much-needed gardens, parks and public green spaces continue to flourish and be lauded for what they offer.

 

Under Attack (Kidnapped From Ukraine, #1)

 

Written by Marsha Forchuk Skrypuch

 Scholastic

978-1-546104513

320 pp.

Ages 8-13

January 2025

 

Apologies to author Marsha Skrypuch and Scholastic for my tardy review of this exceptional novel. They kindly ensured I received a copy of Under Attack and, while a gripping read, it has an emotional component for me, making my reading of it far more challenging. But, because it is so well written and told with such compassion and insight, I could not stay away from Under Attack. Years from now, readers will look to Under Attack as an authentic commentary of how the attack on Ukraine that started in 2022 played out for children and their families. 

 

Twelve-year-old Dariia Popkova's story did not just start on February 24, 2022, although this is the starting point of Under Attack. Her life in her family's fourth floor apartment in Mariupol would have been typical. Her father worked at the Azovstal steel plant. Her mother worked at a nail salon. And Dariia and her twin sister Rada went to school, had friends, did crafts, and loved using their cell phones. Then Putin declares a "special military operation" to free Ukrainians from their "Nazi" regime. When the first bomb hits their apartment, Dariia and her mother are separated from Dariia's dad and Rada. With this begins a separation of place and experience as they try to find their way back together.

 

Dariia and her mother shelter in a basement of a school supply depot with many others. Some are strangers like Sonya Marynovska and her four-year-old daughter Ariadna and two Tatar boys Rustem and Asan, but also a classmate Natalia and her dog Mimi. From their basement base, the twenty-eight hunker down, make unsafe outings to scavenge for food and water and get cell phone reception. They are "eating practically nothing, drinking bad water, and hearing the thunder of nonstop bombing overhead." (p. 53) Weeks turn into months and though Dariia and her mom are first looking to get to the Avostal steel plant where her father's army reserve is stationed and Rada is safe, ultimately they get the message to get to the humanitarian corridor and go to Zaporizhzhia, a city in southeast Ukraine. 

This wasn't a war.
This was the Russian Federation executing civilians because they were Ukrainians.
It was terrifying and senseless. (p. 82) 

Stealing an abandoned car, amidst the continued shelling, roaming tanks with white Z markings, and marauding Russian soldiers, Dariia, her mother, Rustem, Ariadna and Mimi the dog don't get very far before they are stopped and sent to a "filtration center" where they are told they would be evacuated to safer parts of Russia. 

 

Dariia, now separated from her mother, is sent with Rustem and other children–Katya, Volodya, Ihor, Dmytro and siblings Lilia and Vadim–to the Romashka Children's Camp where they are told about Putin, the benevolent president, who has helped rescue them from the Nazi regime of Zelensky. The children know it is propaganda but play along.

It made me angry that the Russians had brought me to this prison that looked and smelled like freedom. (p. 136)

When they are sent to their respective Russian "foster homes," the children vow to get in touch whenever they can with a Gmail account Liliya and Vadim had created to drop messages. Separated from any family they might have and each other, they are determined to keep their connections to each other, to the truth and their homeland.

This could be historical fiction. It could have been a story from the 1940s. I wish that it were. But it's a contemporary story from 2022 through the present, recounting the Russian invasion of Ukraine and the continuing war in a fictionalized story. Someday Under Attack will be historical fiction and readers will shake their heads at the senselessness of the war. I can only hope that they'll be looking back from a time when Ukraine is free from Russian oppression and violence.

While a fictionalized story, Marsha Forchuk Skrypuch takes the time and effort to understand the truths, like the truth about how the war started, the propaganda levelled at both Ukrainians and Russians, and the impact of the war on Ukrainians, from children to workers to the elderly. It is a tough story because of these truths which are so distressing and disheartening. Still Marsha Forchuk Skrypuch is a master at telling such stories (e.g., Winterkill, Traitors Among Us, Dance of the Banished, and Making Bombs for Hitler), ensuring a sensitivity to her characters and her readers, and a thoroughness and accuracy of details.

It's fitting that I review Under Attack on a day which Christians commemorate as Good Friday. Like the day, this book is one of grief and injustice. And it is one that requires contemplation. We can only hope that after the grief comes a resurrection for Ukraine and a future of peace. Only history, and Marsha Forchuk Skrypuch's follow-up books in the Kidnapped From Ukraine series, will tell.

• • • • • • •

Standoff, Book 2 in Kidnapped from Ukraine, releases in October, 2025.

 

 

Mrs. Nobody

Written by Y. S. Lee

Illustrated by Marie Lafrance

Groundwood Books

978-1-77306-836-7

32 pp.

Ages 3-6

April 2025 

 

Who is Mrs. Nobody? Is she the nobody who draws with markers on the wall? Or the one lies about washing her hands or cutting Alice's hair? Is she the one who took something out of someone's wallet and used the paper for confetti? That's Mrs. Nobody and she's always with Alice, until she isn't. 

From Mrs. Nobody, written by Y. S. Lee, illustrated by Marie Lafrance

Mrs. Nobody is Alice's friend, and she has the best ideas, like climbing to the highest branches and playing puppy. And she sings Alice back to sleep when the child awakens in the night. Alice loves her.

 

But one day, Alice doesn't want to be the puppy anymore; she'd like to be the owner holding the leash. Mrs. Nobody isn't happy, growing larger and more menacing, her hair twirling like a twister and her lovely blue dress becoming a stormy grey before she slams out the house. 

From Mrs. Nobody, written by Y. S. Lee, illustrated by Marie Lafrance

That night, when Alice cannot sleep, she longs to hear Mrs. Nobody's voice sing to her. Instead Alice finds her own small voice and sings herself back to sleep.

 

Mrs. Nobody does return the next day, as pretty as a flower in pink, but she wants to play puppy again with, no surprise, Alice as the puppy. But that brave little voice that helped Alice get to sleep is still there and Alice tells Mrs. Nobody that she is tired of being Puppy. When Mrs. Nobody becomes enraged, howling threats at Alice that the child would never see her again, Alice stays strong and still tells Mrs. Nobody, "No." But, with grace, Alice finds a way to stand up for herself and allow Mrs. Nobody the dignity to give way to Alice's ideas.

From Mrs. Nobody, written by Y. S. Lee, illustrated by Marie Lafrance

Most children have an imaginary friend. Many offer comfort, as does Mrs. Nobody when Alice cannot sleep, and some help children partake in mischief, as does Mrs. Nobody with the antics the two get up. But young Alice is coming into her own and realizing that she is not a plaything to be dominated by Mrs. Nobody. Y. S. Lee brings Alice to this realization subtly and by purpose. Most children learn to stand up for themselves when presented with a bully and, though the outcomes will not necessarily be the same as with an imaginary friend, the act of claiming one's self worth is significant. 

 

Mrs. Nobody may not be the dark and complicated suspense of Y. S. Lee's YA historical mystery series The Agency (I reviewed The Traitor in the Tunnel and Rivals in the City) but there is a depth of discomfort that comes with being bullied and then abandoned before finding one's voice and self-confidence. In both published works, a character does not know the quality of her voice until she needs to express it, and when she does, it is to her benefit to realize her worth. Young Alice is lively and imaginative, but she is not a doormat. Soon enough she realizes she has the stuff in her to sing herself back to sleep and to come up with great ideas for play. Finding that voice is key to her happiness and an ongoing relationship with Mrs. Nobody.

From Mrs. Nobody, written by Y. S. Lee, illustrated by Marie Lafrance

Marie Lafrance gives Mrs. Nobody, the character, the energy and zest for play that Alice has imagined for her. She is colourful and wacky in her attire, which contrasts with Alice who wears plain clothes; that is, until Alice stands up for herself and begins to shine in her own vibrant attire. Like Alice's imaginative relationship with Mrs. Nobody, Marie Lafrance's art, drawn in graphite pencil and coloured in Photoshop, is vivid and elaborate, a mosaic of colours and shapes and lines. From the toys with which they play to the countless animals–perhaps stuffies?–like a fox, an octopus, birds and fish, and winding vines and branches, Marie Lafrance creates spreads that are exuberant and rich.

 

Mrs. Nobody is a lesson is finding one's voice and knowing that expressing it might not always be accepted immediately and not without some strife. Still by accepting and sharing our self-worth with others, we give others the opportunity to shine alongside us. Bravo, Alice. With your voice, you will never be a nobody.

 

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.