So Much Snow!

by Robert Munsch

Illustrated by Michael Martchenko

Scholastic Canada

978-1-4431-4617-3

32 pp.

Ages 3-8

August 2016

The collaborative team that brought us Canadian classics The Paper Bag Princess (Annick , 1980) and Thomas’ Snowsuit (Annick, 1985) and so, so many more, have returned to celebrate the onset of the winter season with their newest release, So Much Snow!

From So Much Snow! 

by Robert Munsch, 

illus. by Michael Martchenko

Regardless of her mother’s concern of a coming blizzard, little Jasmine is determined to go to school.  After all, it’s Pizza Day and no one wants to miss Pizza Day.  So bundled up in her multi-hued coat and brightly-coloured hat, scarf, mitts, and boots, Jasmine sets out with enthusiasm amidst the early flurries, singing


“Neat! Neat! Snowy feet!
Snowy feet can’t be beat.
Neat! Neat! Snowy feet!
Snowy feet can’t be beat. 
Wintertime is fun!” (pg. 4)

Even when the snow starts accumulating, up to her knees and then up to her bum, she’s still singing a version of her “Wintertime is fun” song, though perhaps with a little less enthusiasm.  By the time she is in sight of the school, that final line of her song has become a question. And, when it is only the top of her hat that peeks out from the drifts of snow, Jasmine has revised that line to “Wintertime is no fun.” (pg. 13)

A frozen Jasmine is rescued by the snowshoed custodian and his St. Bernard, only to become the focus of the school staff’s efforts to defrost her.  The reader will soon realize that Pizza Day has become a snow day and the school is attended by a skeleton staff.  Still Jasmine came for Pizza Day and pizza is what she will have, though not as she expected.

From So Much Snow! 

by Robert Munsch, 

illus. by Michael Martchenko

In So Much Snow!, Robert Munsch brings his characteristic absurdity to a typical situation, bundling up his story of a child’s earnestness with a sing-song refrain that reveals much.  Playing on a child’s desperation to go to school for an anticipated treat, regardless of the weather, Robert Munsch makes what could have been a dangerous situation into one of silliness, even developing Jasmine into a character who begins to recognize the nonsense of her situation.  But it’s Michael Marchenko, whose artwork children always associate with Robert Munsch, who brings that folly to life, with his bold colours and textured details of clothing, blankets, and interior and exterior features. (Check out the principal’s checkered pants, the school nurse's flowered boots and the lost mitten pinned to the bulletin board.) Michael Martchenko, who has illustrated many children’s books beyond those of Robert Munsch (one of my favourites for teaching is Enough by Marsha Forchuk Skrypuch, Fitzhenry & Whiteside, 2000), will always be seen as the visionary behind Robert Munsch’s words; without his artwork, So Much Snow! would just be a cute story.  Together, though, Robert Munsch and Michael Martchenko have created a snow day story to amuse children and gratify their teachers and parents who will understand completely the mind of a child determined not to missed out on something grand, regardless of a few metres of snow.

From So Much Snow! 

by Robert Munsch, 

illus. by Michael Martchenko

The Snow Knows

by Jennifer McGrath

Illustrated by Josée Bisaillon

Nimbus Publishing

978-1-77108-441-3

32 pp.

Ages 4-8

September 2016

I know Jennifer McGrath as the award-winning author Jennifer Kent McGrath of novels Chocolate River Rescue (Nimbus, 2007) and White Cave Escape (Nimbus, 2009) which transported middle-grade readers to perilous situations on the Petitcodiac River and gypsum mines of New Brunswick.  But she’s also delved into children’s picture books, first with Gadzooks the Christmas Goose (Nimbus, 2011) and now with The Snow Knows.  The plotting may be very different between her children’s novels and illustrated books, but the quality of voice and literary momentum are always there.

The text of The Snow Knows is fairly simple, almost repetitive, prose based on what the snow knows about the various animals, both wild and domestic, as they live with, seek food in and move throughout the winter wonderland of a snowy landscape.  There’s a rabbit, an owl, a pheasant, deer, porcupine, weasel, mice, squirrel, fox, partridge, otter, lynx and coyotes who pepper the whiteness outside.  Jennifer McGrath’s words propel the reader through this winter wilderness, as if witness to a quiet and secretive world outside, one in which all is not said, but much is known.

The snow knows..
Where the rabbit goes.
It knows the hush-shush of the owl’s wing.

Josée Bisaillon’s artwork, which I’ve so admired in Eat, Leo! Eat! (Caroline Adderson, Kids Can Press, 2015) and Winter’s Coming (Jane Thornhill, Owlkids, 2014), is a combination of drawings and digital art, collages of richly treed landscapes and snow-covered fields peppered with stylized but easily recognizable animals and the ever present falling snow.  Moreover, Josée Bisaillon cleverly links the animals’ stories by providing an early peek of the each upcoming animal.  For example, on the double-spread of the deer, a porcupine hides in the tree and a small weasel glances out from behind a log, while the lynx slinks away from the hiding partridge and the sliding otter pages. The story comes full circle from the winter outside a red-tiled house, to the forest and fields, and back to the home from which two creatures exit to share in the snow too.

From The Snow Knows 

by Jennifer McGrath,

 illus. by Josée Bisaillon

We may not have snow now but we will soon enough, and all these creatures will be finding a way to survive and perhaps enjoy its abundance.  Take a slow, lyrical walk through it with The Snow Knows’ Canadian menagerie to appreciate its complex interrelationships and to enjoy Jennifer McGrath and Josée Bisaillon’s delightful frolic through the snow.

From The Snow Know

 by Jennifer McGrath,

 illus. by Josée Bisaillon

The Owl and the Lemming

by Roselynn Akulukjuk

Illustrated by Amanda Sandland

Inhabit Media

978-1-77227-120-1

32 pp.

Ages 5-7

November 2016

Like Aesop’s Fables, The Owl and the Lemming is a tale with a moral but it is more than just a morality story. Through the words of Nunavut-born filmmaker Roselynn Akulukjuk and illustrator Amanda Sandland, this fable is an Inuit legend with a lesson based on a local predator-prey relationship amidst that Arctic ambience of mossy and rocky tundra.  The Owl and the Lemming is as elegant in its story-telling and art as it is wise in its teaching.

A young lemming makes her way out of the den in the spring to partake in some much-needed feeding on tasty moss.  So engrossed in her eating, she fails to notice a snowy owl land directly in front of the entrance to the lemming’s den.   The young lemming tries to trick the snowy owl with some juvenile ploys based on distraction but, though young, the owl is wise to her intentions. Finally the lemming invites the owl to play a jumping game with the lemming’s fate as a meal the prize.  The owl is only too happy to show his prowess at jumping, sadly for him allowing the lemming to scurry back into her den.  Though his father cautions him, “Next time, don’t play with your food” (pg. 25), the little owl knows it was his pride that cost him his meal.

That old adage of pride going before a fall is ever so true in this Inuit tale, told with humour by Roselynn Akulukjuk who directed a puppet-based film of the story for Taqqut Productions, just winning Best Animation at the 41st annual American Indian Film Institute Festival.  It’s an auspicious recognition of the talent of Roselynn Akulukjuk to tell such a legend with both clarity and richness, staying true to her Nunavut roots while extending herself into her new pathways for story-telling.  Similarly, Amanda Sandland uses her artwork to combine the whimsical with the realistic, creating composite images of drawings with photographic backgrounds.  With only a few touches of comic design, like the den’s doorway and fencing, added to the true tundra landscape, Amanda Sandland puts all her efforts in creating a lemming and an owl worthy of the legend’s title.

From The Owl and the Lemming 

by Roselynn Akulukjuk, 

illus. by Amanda Sandland

Readers should look for the release of Taqqut Productions’s film of this story, but indulge in this literary version from Inhabit Media for teaching and learning an important moral about pride and survival from a very northern perspective.

The Griffin of Darkwood

by Becky Citra

Coteau Books

9781550506914

173 pp.

Ages 8-13

July 2016

It’s not unusual for there to be hints of secrets untold in Becky Citra’s novels for young people.  Two past Forest of Reading nominated books, Never To Be Told (Orca, 2006) and Missing (Orca, 2011) are two perfect examples in which there are personal mysteries that need to be solved.  While The Griffin of Darkwood splendidly plays on this same theme, as well as that of loss, Becky Citra takes on a whole new dimension in her writing: fantasy.  And she draws you in that story effortlessly with the expertise of a seasoned writer.

Twelve-year-old Will Poppy and his mother Adrienna are writers.  They even have their own Muses: a knight and a woman from Ancient Greece respectively.  But just after Adrienna finishes her book, The Magical Night, and Will deposits it with her publisher, Mr. Barnaby, Adrienna dies and Will is spirited away unceremoniously by nasty Aunt Mauve to a castle called Sparrowhawk Hall with its two equally-scary servants, Mr. and Mrs. Cherry.  Except for his mother’s pencil box, which always seemed magical to him, and a package containing a photo of his mother’s parents and a piece of  cloth with the words "The Griffin of Darkwood" woven into it, Will brings little with him to Sparrowhawk, though, with his desire to write having disappeared, he needs little.

Sparrowhawk is a quaint, old-fashioned English village of cobbled streets and alleys, and Will soon discovers the bookstore of Favian Longstaff, Ex Libris, and meets the energetic Emma Storm and her dog Peaches and Emma’s friend, chef-in-training Thom Fairweather.  Through his new friends, Will learns of the centuries-old griffin’s curse–there are stories of a young girl dying and a murder–which explains the rather unwelcoming welcome Will and his aunt get from many of Sparrowhawk’s villagers.

But, the mystery only begins there.  Even though Will refuses to write, he is still a writer and he keeps his eyes open and has a lot of questions. Why does his aunt seem to be keeping important mail from Will?  How could she afford the castle when they were all as poor as church mice?  Why is Mr. Cherry sneaking around looking for a secret passageway? Should Will heed the predictions of poet Vespera Moonstone and Granny Storm?  And what of the magic he seems to witness: book characters come to life at the bookstore, the eye colour-changing Macavity the cat, falling into a crystal ball, and the light emanating from his mother’s pencil box?  With a host of new friends and a lot of magic, with a little writing mixed in, Will finds that he is the solution to this mystery in ways he could never have imagined.

Though a contemporary story, there’s an Old English feel to The Griffin of Darkwood that readers and lovers of medieval history will appreciate. From the castle with its tower, great hall and keep, as well as the story-telling tapestries and the village of Sparrowhawk, Becky Citra sets an atmospheric tale of mystery, deceit and redemption.  From a poor orphan who has lost his will to write and under the “protection” of a selfish aunt, to evil servants with malevolent intentions, and a mysterious creature, sight unseen,  that dominates the landscape, The Griffin of Darkwood is itself a tapestry.  The tale is rich in characters and setting and plot, all the essential components of a great story.  The Griffin of Darkwood will fill a reading void for early and middle-grade readers who are in want of a Harry Potteresque fantasy without the truly scary bits and a huge page count, and who appreciate the far-too-rare triumph over evil in our own world.  

Adrift at Sea: A Vietnamese Boy's Story of Survival: Book launch (Brantford, ON)

Join 

award-winning author Marsha Forchuk Skrypuch 

and

  Tuan Ho

for the launch of their collaborative non-fiction picture book

Adrift at Sea

A Vietnamese Boy's Story of Survival

by Marsha Forchuk Skrypuch with Tuan Ho

Illustrated by Brian Deines

Pajama Press

978-1-77279-005-5

40 pp.

Ages 6+

September 2016

Reviewed here

on

  Tuesday, December 6, 2016

7-8 p.m.

at

Station Coffee House and Gallery

(at the Train Station)

5 Wadsworth Street

Brantford, ON

N3T 3V5

The authors are generously donating proceeds from the book sales 

to the Brant Anglican Churches Support for Syrian Refugees.

Little Fox, Lost

by Nicole Snitselaar

Illustrated by Alicia Padrón

Translated by Erin Woods

Pajama Press

978-1-77278-004-8

32 pp.

Ages 3-6

September 2016

This is certainly a week for Pajama Press on CanLit for LittleCanadians with Little Fox, Lost being the third book from this publisher that I've reviewed in the past 4 days.  That says a lot about Pajama Press's releases. Except for review copies, which I get from many publishers, I receive no renumeration for any reviews. I just review those books that I believe need to be read and Little Fox, Lost is such a book.  Written by French author Nicole Snitselaar and illustrated by Venezuelan Alicia Padrón, and translated by Pajama Press’s own Erin Woods, Little Fox, Lost is a beautiful, soft book in textual sentiment and physical texture (it has that wonderful cushioned cover) with illustrations evocative of the majesty and solitude of a forest in winter.

After a brilliant snowfall, Mama Fox takes Little Fox out of their den for a walk.  Though cautioned to stay close, Little Fox becomes distracted by his paw prints in the snow while his mother chats away with Mrs. Gray Fox.  It doesn’t take long for Little Fox to realize that he’s gone a little deeper into the forest than he’d planned.  He can’t even retrace his steps which run in every direction.  Fear overcomes Little Fox who starts to cry.  Even when an old owl tries to reassure Little Fox and suggests leading him out of the forest, Little Fox recalls his mother’s wise words:

"If ever you are lost, my child,
Don’t let a stranger guide you.
Be still, and I will search the wild
Until I am beside you." (pg. 20)

From Little Fox, Lost 

by Nicole Snitselaar 

illus. by Alicia Padrón

Even better, Little Fox begins to sing his mother’s rhyme aloud, with the owl’s help, hoping to draw his mother to him.  With the help of some other animals who are also drawn to the singing, Little Fox is reunited with Mama Fox.

From Little Fox, Lost 

by Nicole Snitselaar 

illus. by Alicia Padrón

Little Fox, Lost has a happy ending to a fearful situation for both parent and child, and I suspect that the rhythmic verse in Little Fox, Lost could become a go-to teaching tool for telling a child what to do when lost.  If there is a tune with it, that verse could become widespread in child safety measures.  But, in the meanwhile, read Little Fox, Lost with your children at home and at school to inform them about what to do if lost and reassure them that they will be found.  Because of Alicia Padrón’s stunning artwork, children will lulled into the story and captivated by her delicate creatures and expansive landscapes. There’s a softness and quiet that comforts and envelops the reader in a blanket of safety and support, and even have you looking forward to winter and snow. (I just wish my scanner could depict more accurately the colours within.)

Everything about Little Fox, Lost is sublime, from the lyrical text and its message, to the artwork, the cover, the framing of the words on the page, and the endpapers. Little Fox, Lost is lovely, through and through, and deserving of appreciative readings, over and over.

How Do You Feel?

Written and illustrated by Rebecca Bender

Pajama Press

978-1-77278-013-0

32 pp.

Ages 2-5

November, 2016

Little ones often have difficulty differentiating between feeling, the emotion, and feeling, the sense of touch, and Rebecca Bender, creator of the award-winning Giraffe and Bird books (Giraffe and Bird, Dancing Cat Books, 2010; Don’t Laugh at Giraffe, Pajama Press, 2012; Giraffe Meets Bird, Pajama Press, 2015), has some fun word play with that to compare textures of a variety of animals.

The little hedgehog guides the story, going from animal to animal–toad, snake, duckling, rabbit, snail, and kitten– asking how it feels.  Each animal answers with a descriptive adjective –bumpy, smooth, fuzzy, silky, slimy and soft–and a simile that expresses and clarifies what each feeling is like.   And then all the animals turn things around and ask, "Hedgehog, how do YOU feel?"  Though they suggest a variety of textural synonyms for prickly,  the hedgehog does a fun shift in declaring he feels…"happy, like a hedgehog having his tummy tickled!"

From How Do You Feel? 

by Rebecca Bender

Pajama Press has started putting out these lovely padded-cover books for preschoolers that are so much more inviting to hold than ordinary board books.  With its soft, cushioned cover, the parade of animals within and the repetitive text, How Do You Feel? will become a popular read-aloud book for parents and teachers of preschoolers and kindergarteners.  The rhythm and predictability of the text offers great opportunities for little ones to suggest answers to each question.  It’s a great teaching tool.  I can just imagine parents and teachers asking, just as they often play that game asking what a dog or cat says, how a snake or a kitten feels.

From How Do You Feel? 

by Rebecca Bender

But, kids will see beyond the content of the book and fall in love with Rebecca Bender’s adorable creatures. Every one of them has darling eyes–all bright, some laughing, several inquisitive–and bodies of evocative textures that will delight little ones who will want to reach out and touch.  They’ll be surprised to only stroke paper but Rebecca Bender’s illustrations will still give readers starting points for further discussions.  It could be about the sense of touch–and the other senses as well– or about synonyms and the thesaurus or about similes and metaphors.  How Do You Feel? may be targeted for the pre-reader who will be charmed by the whole package of art and text, but teachers should look beyond the cuteness and see the book as having applications far beyond the very youngest.  That's how I feel.  How do you feel?