A Song for the Paper Children

Written by Christopher Tse

Plumleaf Press

978-1-7388-9828-2

52 pp.

Ages 9+

May 2024

 

 

A Song for the Paper Children
is a tribute to early Chinese immigrants, some of whom came to Canada after the Chinese Exclusion Act was passed to severely restrict their entry. These “paper children,” courageous men and women, endured legislated racism, financial hardship, and frequent acts of violence and discrimination, but they followed in the footsteps of their predecessors to lay the foundation for a Chinese Canadian community today that is vibrant, resilient, and here to stay.

 

 

With this preface, slam poetry artist Christopher Tse introduces the background for his poem and book about the stories of Chinese Canadians who endured and thrived under challenging circumstances of racism, economic hardship, exclusionary government policies and more. Christopher Tse tells their stories with admiration and respect, and makes it a true song, a composition of historical relevance.

From A Song for the Paper Children, by Christopher Tse

Christopher Tse's poem is a tribute to his own family. He remembers his Gung Gung (maternal grandfather) and relatives toiling in his Quebec restaurant, "his smile tired bright" (p. 12). How did they manage knowing that they were not wanted, that they were not meant to succeed or put down roots?

We were never meant to make home from ashes, 

to find kin from the masses. (p. 17)

From A Song for the Paper Children, by Christopher Tse

Peppering his poem with photographs of people and documents as well as drawings, Christopher Tse instills a gravitas to his works which are already deeply evocative of time and place. Surprisingly, much of it comes from asking questions. How did they feel? What did they think? What was the cost? Are they heard now? Christopher Tse makes the reader think and feel. It is the feeling of heartbreak for mistreatment and abuses, of awe for resilience and endurance, and of astonishment that these stories happened.

From A Song for the Paper Children, by Christopher Tse

There is hurting in much of A Song for the Paper Children but that hurting is always bonded to courage and tenacity. From generations who witnessed anti-Asian signage to families destroyed by exclusionary practices like the Chinese Head Tax and the Chinese Immigration Act, there has been discrimination against and negation of their contributions  by virtue of their heritage alone. With A Song for the Paper Children, Christopher Tse gives voice of empowerment through his recognition of Chinese Canadians past and present and applauds them.

From A Song for the Paper Children, by Christopher Tse

I hope that there will be an opportunity for Christopher Tse to record a performance of A Song for the Paper Children. There is an obvious emphasis or tone to his poem that is evident in the choice of font and colour as well as placement of text, but I suspect that the cadence of a performance would be compelling. For his words and their stories to come together in one dynamic presentation would be another step forward towards reconciliation.

My Bunny Lies Over the Ocean

Written by Bill Richardson

Illustrated by Bill Pechet

Running the Goat, Books & Broadsides

978-1-998802098

40 pp.

Ages 4-8

May 2024 

 

With a mondegreen play of words on the traditional Scottish folk song "My Bonnie Lies Over the Ocean," Bill Richardson and Bill Pechet have given us another bunny story of a legendary incident. Like their earlier book Hare B & B (2021), readers are treated to a silly but playful adventure, this time one in which a stuffed rabbit endeavours to make its way home with a lot of help from a menagerie of animals. And it's all to the accompaniment of some talented singing seagulls.

From My Bunny Lies Over the Ocean, written by Bill Richardson, illustrated by Bill Pechet

When a bow-tied and sunglass-wearing bunny is abandoned at the beach and a seagull falls in love, a global escapade ensues. With a seagull bemoaning the stuffie's plight of being dragged out to sea, My Bunny Lies Over the Ocean becomes a lament.

My Bunny was wet and bedraggled,

My Bunny was dashed by the waves,

My Bunny was found by a starfish,

And that's how my Bunny was saved.

The words may not all be as we may have learned them but they certainly sound like they were made for a story about an errant bunny.

From My Bunny Lies Over the Ocean, written by Bill Richardson, illustrated by Bill Pechet

And, boy, does this bunny travel, and with the help of everything from a starfish and a whale, a tallship and a kangaroo, and more. Still when Bunny finally gets back to the family–who should be chastised for abandoning Bunny in the first place–there will still be someone lamenting Bunny's absence.

From My Bunny Lies Over the Ocean, written by Bill Richardson, illustrated by Bill Pechet

I defy you to read this story and not sing it to the tune of "My Bonnie Lies Over the Ocean." It's so easy to do with words that rhyme and flow, especially with a repetitive chorus. The story may be different and homophones used, but Bill Richardson, who does clever very well, keeps the rhythm and the momentum of the original and gives it the humour and cheekiness that will delight readers of all ages. Kids may sympathize with a lost stuffie, but adults will chuckle at the lovestruck seagull and the astonishing path of the bunny to its home.

From My Bunny Lies Over the Ocean, written by Bill Richardson, illustrated by Bill Pechet

That cheekiness is seen in Bill Pechet's sketch art, from Bunny relaxing on a bed inside the whale's belly to seagulls singing atop the "Bunnilator" plane heading between signposts "Here" and "There." Sticking with his palette of pale turquoise, light lime green, and pale orange, Bill Pechet keeps us on that ocean, on the land, and in the air as Bunny finds its way home. And he makes us laugh.

 

Bunny may make it home via a prolonged path, but they will be prepared for another such eventuality. (Come on, it wasn't Bunny's fault that they were left behind.) And with a seagull singing its yearning for Bunny still, I suspect Bunny will never be alone again.

The Bee Mother (Mothers of Xsan, Book 7)

Written by Hetxw'ms Gyetxw (Brett D. Huson)

Illustrated by Natasha Donovan

HighWater Press

978-1-774920800

32 pp.

Ages 9-12

May 2024

Hetxw'ms Gyetxw (Brett D. Huson) and Natasha Donovan's latest volume in their illustrated non-fiction series, Mothers of Xsan, takes readers into the insect world for the first time, having previously highlighted mammals, birds, fish, and amphibians. Though the bee may be the smallest of the species showcased, it is no less significant.

From The Bee Mother, written by Hetxw'ms Gyetxw, illus. by Natasha Donovan

The story begins with the recession of winter and the awakening of the bee mother, Nox Ap. The bee mother first looks to make a new home in a burrow or hollow tree. Also making new homes for themselves are the yellow jacket wasps and introduced honeybees. With new moons, Nox Ap builds a nest and lays her eggs which pupate and emerge as worker bees to collect pollen and nectar to sustain the nest. And once pollination is done, the bumblebee queen, as well as those of the yellow jacket and honeybee, must find an overwintering space.  

 

As with all books in the series, the life cycle of the bee is paramount, but The Bee Mother goes beyond a compendium of natural history facts. It is a story, and it all takes place within the Gitxsan Nation, Indigenous Peoples of the unceded territories of the Northwest Interior of British Columbia. Hetxw'ms Gyetxw ensures that the reader understands that the bee mother's story is not one of isolation. It is a story that includes her connection with the environment and those within it. As such, Hetxw'ms Gyetxw speaks of the contributions of Nox Ap and the other bee relatives, from the provision of honey and the pollination of flowers to help provide fruits and vegetables, to pest control and providing food for other species. They are a part of everything.

From The Bee Mother, written by Hetxw'ms Gyetxw, illus. by Natasha Donovan

Hetxw'ms Gyetxw's text certainly speaks to life, as do Natasha Donovan's illustrations. They are vibrant, most especially in colour and shape. From the oomph of pinks and fullness of line and shape in the book's cover to the warmth of greens and golds in close-up art of the bees in their natural habitats, Natasha Donovan gives us stylized but realistic depictions of flowers and plants, bees and other animals, water and snow. Because the topic is the small bee, Natasha Donovan takes us up close to focus on the bee, creating art akin to macrophotography to ensure details are not missed.

From The Bee Mother, written by Hetxw'ms Gyetxw, illus. by Natasha Donovan

Because of the Indigenous roots of both the author and illustrator–Hetxw'ms Gyetxw is from the Gitxsan Nation and Natasha Donovan is Métis– The Bee Mother goes beyond a rehashing of STEM facts and takes on a new life of storytelling and appreciation for the connection of living things. In fact, because the Gitxsan Nation follows a matrilineal line which suggests that the stories come from the mothers, highlighting the mother of each species in the Mothers of Xsan series is both reasonable and respectful. (Hetxw'ms Gyetxw provides notes about the Gitxsan Nation and the Gitxsan Moons, along with a map of their territories.) And, by making the story specific and still broad, it demonstrates to readers  who the bee mother is and what she does and what happens every year, but also that she is part of something bigger. You can read it as a story of a life cycle but read beyond that and recognize that there is far more to the story that needs to be appreciated.

• • • • • • •

Mothers of Xsan series

The Sockeye Mother (2018)
The Grizzly Mother (2019)
The Eagle Mother (2020)
The Frog Mother (2021)
The Wolf Mother (2021)

The Raven Mother (2022)

The Bee Mother (2024)

The Old Oak Tree

Words by Hilary Briar

Music by Reid Briar

Art by Angela Doak

Nimbus Publishing

978-1-77471-199-6

24 pp.

Ages 3-7

April 2024

 

With the spring, children will bear witness to many elements in nature undergoing change that will both delight and surprise. They will see robins busily at work, building their nests and then tending to their young. There will be oak trees and other deciduous trees leafing out. There will be animals born and growing. And they will all converge intermittently. In Hilary Briar's story and lyrics, that point of converge is The Old Oak Tree.

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

Based on their song, The Old Oak Tree, Hilary Briar and Reid Briar give us a story of the life cycle of an old oak tree as it changes through the seasons and the lives it impacts. Told in rhyming verse, the life of a robin and oak tree are intertwined, reflecting what each experiences. If the robin is happy, so is the oak. When the robin is tender, so is the oak. If there is sweetness in the robin's life, so is there for the oak.

In her nest so cozy

The robin dreamed so sweet

That she woke up every morning

Singing tweet tweet tweet

In the old oak tree

The strong oak tree

The sweetest old oak

That you ever did see

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

As the seasons change and the animals that use the oak tree come and go, from a fawn, a raccoon, a fox and birds like the woodpecker and blue jay, both the robin and the tree deal with weather until a lightning strike takes down the old oak tree. And though there is sadness for the robin "to say goodbye to a friend so dear," that old oak tree still has life to offer. 

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

It is never too early for children to learn about life cycles of plants and animals, especially as that learning will help them understand our own life cycle. Still, the loss of a tree is always a tragedy. For a life force that gives so much to others in its environment, from shelter and food to mitigating deficiencies in physical surroundings, trees are still, like other living things, ephemeral. Even so, Nova Scotia's Hilary Briar's rhyming verses, put to music (appended to the story) by partner Reid Briar, blends the appreciation and heartache with hope. Even after the tree is no longer standing, it serves a significant role, perhaps a little different but important just the same.

Halifax's Angela Doak gives The Old Oak Tree an organic feel to the art through her collage work that blends fabric and found objects to give texture and depth. Just as the robin integrates grass and twigs, roots and moss, to construct an effective nest, Angela Doak combines a variety of materials, all of a realistic and natural colour palette, to create outdoor seasons that are both uncluttered and sophisticated. (See the austere scene in which the tree is struck by lightning but look deep into the multi-layered sky that evokes menace and light.)

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

Like the old oak tree that can do it all, The Old Oak Tree story, with its rhyming verses, music, and art is a fine package of lessons about the circle of life and the interrelationships of living things. These are lessons that are broad and far-reaching but delicate when taken down to the level of one tree which will help children see beyond the forest and deeply into it.

Zevi Takes the Spotlight (Orca Currents)

Written by Carol Matas

Orca Book Publishers

978-1-459838826

128 pp.

Ages 9–12

RL 2.7

April 2024

 

Some gift! Unlike other gifts, this one is not returnable. (p. 2)

Zevi's gift? He's psychic. Sometimes he can see into the future, or dream about something that is going happen, hear someone's thoughts, or even talk to the dead. When he dreams of the location of a missing 5-year-old girl, he helps the police find the child unharmed. But, for a Grade 7 boy who wants to be an actor, he doesn't appreciate the celebrity, both good and bad, that comes with this good deed.

Now Zevi's family is getting dragged into the filming of a movie starring Robert Lemon when their glass-and-steel home is selected as a location for the futuristic movie. Problem is that Zevi keeps sensing a dark cloud associated with the star and the boy is worried that Mr. Lemon is in danger. When repeated accidents occur on set, i.e., at their house, Zevi, his best friend Nir, and Zevi's family use their proximity to the movie to do some sleuthing to discover who might want to hurt Robert Lemon.

 

Zevi Takes the Spotlight is another fast-moving hi-lo book in the Orca Currents series, which are high-interest books written at a lower vocabulary and reading level, here at 2.7. (RL 2.7 is associated with readers in the seventh month of Grade 2.) Carol Matas, a prolific writer of everything from picture books to historical fiction, paranormal, fantasy and sci-fi, capably writes a compelling mystery for middle-grade readers at a less challenging level. She weaves a story of real characters, kids who want to try new things or don't, who want to be famous or don't, and who want to connect with others. And they've got a mystery to solve. They may have a few tricks to help them out, like Zevi's psychic ability, but that "gift" is both beneficial and an obstacle, as Zevi learns. 

 

Zevi may want to be an actor when he is older but he's learning early what fame can mean when he gets a taste of it. Still, it doesn't stop him from doing good for others or learning how to deal with it. His brush with celebrity may put him in the spotlight but he's now seeing beyond that attention to a path that will allow him to be both who he is and who he wants to be.

A Planet is a Poem

Written by Amanda West Lewis

Illustrated by Oliver Averill

Kids Can Press

978-1-5253-0442-2

56 pp.

Ages 8-12

May 2024

 

It isn't always easy to blend science with art in a meaningful way. But Amanda West Lewis has elegantly and effectively used poetry to intertwine the teaching of different poetic forms with the teaching of the solar system and all its components in her latest book, A Planet is a Poem.

From A Planet is a Poem, written by Amanda West Lewis, illus. by Oliver Averill

In fold-out double spreads, Amanda West Lewis gives us a poem, a description of the type of poem it is, and an information page about the concept upon which it focuses. For example, the first poem, "Our Family: A Sonnet for the Solar System" opens onto a fold-out about the form of a sonnet called "Sonnet Sing" and "We're All Spinning Around the Sun" information page.

From A Planet is a Poem, written by Amanda West Lewis, illus. by Oliver Averill

This format continues to include an ode, a villanelle, a ballad, a persona poem, a sestina, a concrete poem, free verse, an acrostic, a companion poem, a prose poem, a cinquain, and hip-hop. Amanda West Lewis discusses rhyme and beats, sounds and imagery and metaphors, and patterns. Her exploration of all facets of poetry is comprehensive and well-illustrated in her own poems. Accompanying these poems and poetry teaching are concepts in astronomy that include everything from the solar system to each planet, and unusual celestial entities like Pluto and its moon Charon, the Kuiper Belt, and the asteroid Arrokoth.

 

But A Planet is a Poem is more than an anthology of poetry to teach forms and astronomy. It is an opportunity for young readers to become young writers themselves with Amanda West Lewis asking them to look within, and to the stars and planets, to write their own poems and investigate space. 

 

The content of poetry and astronomy is thorough and will surely become an exceptional teaching resource for both areas of study. But beyond content is the art of the writing, particularly in Amanda West Lewis's poems. Take, for example, the concrete poem for Jupiter, "Jupiter the Giant," that includes this reference to its Great Red Spot.

The Giant Red Spot 

Is Shrinking,

Tearing Off, Vanishing,

Into Spinning Clouds.

From A Planet is a Poem, written by Amanda West Lewis, illus. by Oliver Averill

Her poems are laden with information but also perspective and sensitivity. Whether it's through point of view or poetic devices, there is a sense of awareness and appreciation for something great and mysterious. UK illustrator Oliver Averill depicts that vastness of scope through digital images that show grandeur of space and the subtlety of its elements. They are large and complex, secretive, and yet celebrated. And though many illustrations are set in gorgeous midnight blue backgrounds, Oliver Averill gives us colour in the planets, rockets, and sunlight.

 

I pity the library technicians who will need to decide whether to catalogue A Planet is a Poem as a picture book (E), as a book about writing poetry (808.1), as Canadian poetry (819.11) or about the science of astronomy (520). It's a book that can be enjoyed from different perspectives and as a resource for teaching and learning across both science and language. Regardless of where it finds its shelf, A Planet is a Poem is as expansive and substantial as the premise upon which it is based, and sure to be checked out by both young readers and their teachers.

ninitohtênân / We Listen (Nôhkom series)

Written by Caitlin Dale Nicholson with Leona Morin-Neilson

Illustrated by Caitlin Dale Nicholson

Groundwood Books

978-1-77306-859-6

24 pp.

Ages 3+

April 2024 

Caitlin Dale Nicholson's Nôhkom series honours the Cree grandmothers and elders who share their wisdom, their traditions, and their learning with younger generations. In ninitohtênân / We Listen, Caitlin Dale Nicholson, with translation by Leona Morin-Neilson, a teacher of Cree in BC, reflects on an outing with nôhkom during which the younger people watch and listen and learn.

From ninitohtênân / We Listen, written by Caitlin Dale Nicholson with Leona Morin-Neilson, illustrated by Caitlin Dale Nicholson

There are few words in ninitohtênân / We Listen, though each phrase is told in both standard roman orthography and syllabic Cree, as well as English. The phrases are simple, taking us from "Nôhkom gets ready" and "We get ready"–phrases are paired to reflect what nôhkom does and then what the young people do–to a day out with a picnic and collecting the plant called Labrador Tea. It's a day of following and learning.

From ninitohtênân / We Listen, written by Caitlin Dale Nicholson with Leona Morin-Neilson, illustrated by Caitlin Dale Nicholson

Even though the young people occasionally deviate from what nôhkom does, like playing in the water when their elders rest, the girls usually follow her lead, recognizing the value in her way of doing things. In that way, ninitohtênân / We Listen is very much a tribute to nôhkom and what she imparts to them in her traditional ways.

From ninitohtênân / We Listen, written by Caitlin Dale Nicholson with Leona Morin-Neilson, illustrated by Caitlin Dale Nicholson

The Nôhkom series from Caitlin Dale Nicholson is extraordinary in the depth of its esteem  for the contributions made by elders to younger generations, and the respect afforded them by their sharing of those traditions. As in the earlier books, nipêhon / I Wait and niwîcihâw / I Help, the text is minimal but powerful, even more so for the Cree in both standard roman orthography and syllabic forms. But, it is always Caitlin Dale Nicholson's artwork, acrylics on canvas, that ground the story in family, traditional customs, intergenerational relationships, and Indigenous culture. The family of multiple generations gathers for simple pleasures, but they are profound in their connections with each other and with the natural world as well as their Cree culture. (Recipes for tea and ointment made from the plant Labrador Tea are included.)

 

For young readers, ninitohtênân / We Listen allows us the privilege of a glimpse into a very special relationship and witness the learning that comes from that positive connection. It may not be dramatic or thundering but it is mighty, if you listen.

• • • • • • •

Nôhkom series

nipêhon / I Wait  (2008/2017)

niwîcihâw / I Help (2018)

ninitohtênân / We Listen