Two Books

I tend to get my books in chunks, here and there, as they come in to the shops I frequent. That means that my blogging here tends to go in fits and starts for a few reasons: a) blogging comes and goes as my work dictates; b) it also comes and goes as my book acquisition dictates. Today I have two books for you both because I got them at the same time and because, once I read them together, I saw a link between them: they share a madcap, frenetic energy– an impulse towards adventure which I hope you’ll all enjoy.

Let’s start with Captain’s Log: Snowbound, by Erin Dionne, illustrated by Jeffrey Ebbeler.

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The story of how this book came into being is almost as great as the book itself: During the legendary snowstorms of 2015, author Erin Dionne entertained herself by writing on Facebook of her life as a marooned captain sequestered with her two mutinous children. Charlesbridge editor extraordinaire, Karen Boss, spotted these posts and the two of them made a book happen!

And, heading into another winter, am I ever glad they did. Right now, the Changeling is at the stage where she’s looking forward to snow. But I’m a seasoned explorer of the ice and snow (that is, I grew up in the Canadian Maritimes and I know winter) and I fully expect to see that excitement turn to misery mid-February, which is when I’ll pull out this book and turn the winter blues into warm chuckles.

I don’t want to undersell this book by saying it’s just a funny book about being cooped up indoors during a harsh winter. That’s all true, and parents and children can both relate to the feelings involved in an upset schedule and gloomy weather. On that account alone, this book is a winner.

But there’s more going on or I wouldn’t be writing about it here: Erin Dionne invokes the great name of Sir Ernest Shackleton and his ship Endurance. We’ve talked about Shackleton before: Shackleton’s JourneyWell, in this book, the young protagonist (our Captain) has a presentation to give on Ernest Shackleton and is wildly excited to do so… until the storm hits…

Soon, the young Captain is embroiled in adventure after adventure as the scallywag (the Captain’s younger sibling) causes trouble, the Captain’s belongings start to go missing, and the supply of hardtack begins to dwindle. Mutiny rears its ugly head and morale is low– until the sun comes out, the snowstorm abates, and a Captain with a renewed store of experience (and endurance!) prepares once more to deliver a presentation on the thrilling life of Shackleton.

The double layers to the story, interweaving bits about Shackleton’s life and adventures with the Captain’s, is a brilliant touch. It takes a funny story and gives it added depth and flavour, and gives motivation to the Captain’s zeal for adventure. The earnest Captain is always looking for the next opportunity to do the right thing, take the necessary next step, while the reader, looking on, sees madcap energy boiling all around him. The contrast between the honorable Sir Ernest Shackleton, our protagonist’s hero, and the craziness of being trapped indoors for several days running is consistently, and hilariously, in the reader’s mind.

Let me put it this way: if you’re a parent in a soon-to-be-snowy area, you definitely need this book. Get yourself a store of hardtack, grog, and this book, and feel smug about the impending snow.

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Our next adventure is far, far removed from Antarctica– let’s journey to France, instead, where at the dawning of the age of film we meet Alice Guy-Blaché. In Lights! Camera! Alice!, author Mara Rockliff and illustrator Simona Ciraolo introduce us to one of the first filmmakers, period, and the very first woman filmmaker.

Alice Guy-Blaché, they teach us, was, first and foremost, a storyteller. She started out life in comfort with a loving family and a great store of books. Disaster struck, her beloved father died, and Alice had to go to work. She learned to type and went to work at a camera company– where she was introduced to a new type of camera, and to moving pictures. Her mind was filled with the potential of these new cameras, and soon she was combining her love of narrative with her work, demonstrating the capabilities of the cameras with moving stories. Soon her films took off: she wasn’t just selling the cameras, she was selling the stories! She made film after film… until she fell in love with a young cameraman and they headed off to America. In America, she was stunned to find that movie-making was far behind what she had known in France, but, nevertheless, she got to work and carried on doing what she did: making films, telling stories. Sadly, once again fate took a turn: both her business and her husband left her for Hollywood, and she was left to return to France with her children. There, once again, she turned to storytelling– this time in the form of her own memoirs.

It’s a breathtaking story, and fills a very necessary hole in our understanding of how history works. This isn’t just the history of cinema or women’s history: it is our history, in a global sense, and Alice Guy-Blaché has been left out of it. It’s outrageous to think that so many of us grew up on film as The Story of Edison, when, in point of fact, Alice was the teller of so many tales, and in such a dramatic fashion, before he entered the scene. How has she been forgotten? Indeed, how was she neglected in her own day?

I was going to answer those questions, but I think we all know the answers already, so I’ll leave it unspoken.

The point is: Alice Guy-Blaché was a truly remarkable, innovative, unstoppable innovator and filmmaker. She was one great adventure after the next, she had boundless energy, and a remarkable spirit of endurance (to bring us back to Shackleton). As my own daughter begins to explore the world of storytelling (no, seriously, she wrote a very cute little storybook!) it thrills me to think that she has someone so brilliant and feisty, so accomplished and innovative, so full of madcap energy, behind her. If we stand on the shoulders of giants, Alice Guy-Blaché can lift the next generation to the stars.

So there you have it: two wonderful, utterly different stories. We have fiction and nonfiction, yes, but we also have two zany, adventurous, energetic tales which bring us, I think, closer to where we need to be as humans. They teach us persistence, innovation, and endurance, and they never, ever let us lose our sense of humour.

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Night Train, Night Train

Dear fellow readers, it’s been a while since I settled down for a chat with you all about just a beautiful picture book. I’ve missed that! So let’s rectify that situation, shall we?

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Meet Night Train, Night Train by Robert Burleigh and illustrated by Wendell Minor. It’s quite a new book, just published in October by the ever-fabulous Charlesbridge. It has been a while since I have met with such a visually stunning book and I am eager to share it with you.

This is quite a young picture book, geared towards toddlers and up (the Charlesbridge website says ages 2-5, and I defer to their expertise), but that doesn’t make it any less sophisticated, particularly to the adult eye.

The book itself is a nostalgia trip: it’s set, as the illustrator’s note in the back explains, in the 30’s or 40’s, with a small child riding a Dreyfuss Hudson locomotive. The child, accompanied by a teddy bear, rides the train through the night, all in black and white and shades of grey, occasionally punctuated by a gleam of colour. (Long-time readers of the blog will recollect exactly how much I love a muted grey-black-white palette punctuated by the occasional bright splash of colour: The Tea Party in the Woods and First Snow spring to mind.) As the train and the child dash along through the night they witness, among other sights, a “big blue window like an eye,” and as the night progresses and the child is lulled to sleep, “Eyelids flutter. Nod. Lean back. RattleRumble. Down the track.” Finally, as the child sleeps, the light and colour gradually increase until, with morning, the train pulls into the station, and the child and teddy step out at their destination in a bright world of colour.

As I emphasized above, the gradual transition from dark, greyscale night, whisking through splashes of colour, and on into a world of soft yet brilliant colours will captivate any child’s eye and be appealing to every adult reading with them.

But the strength of the book isn’t only visual; it’s aural, as well. Just as the illustrations are muted yet brilliant, the words are quiet yet potent. I want to say that it’s “poetic,” but I don’t want to be misunderstood. The book isn’t exactly a unified, narrative poem; it’s not even a Jamberry. But rhythm, rhyme, and plain old sound effects mark it strongly and attract the tongue and the ear as much as the not-quite-black-and-white pictures attract the eye. Together, sound and sight make this book an absolute treat, and I want to bring back the word I used above to emphasize the point: this book is sophisticated. Instead of carving away everything of essence about trains to make it “childlike,” this book takes the child audience seriously and carries the reader right into the essence of the train ride. It’s like Freight Train (a childhood favourite of mine) at an art show.

Simply put, I adore this book. It’s fresh, new, original– and yet it’s a total nostalgia trip for a world I never knew yet somehow remember through its pages. It’s a joy to read: exquisite to the eye and a dream for the ear.

The copy I bought today is earmarked for someone else, and I’m so sad about that that I just know what’s going to happen… and I bet so do you. Freight Train has earned itself a companion on the bookshelf!

A few “early reader” books

OK, I admit it.

I’m stressed. I can’t work properly. This last day before the election (ARE YOU VOTING? VOTE!) is dragging me down and I need to fight that off.

The antidote to stress is books, in my experience. So let’s talk books. Specifically, let’s talk about my ignorance and learning curve when it comes to “early reader” books.

You see, my Changeling has learned to read pretty well, and is having a glorious time investigating anything in print. She’s having fun, and she has a lot of good picture books, so that part’s fine. I thought we were set. But I started laying in a few other books I thought she’d grow into, and she found them and started reading them, too, which sort of surprised me so I figured I should investigate a bit and get her some more challenging books.

Which is when I discovered that there’s a whole world of books between “high-level picture books” and “MG Fiction” of which I was shockingly ignorant. Those were the books I needed for the Changeling, and I didn’t know which ones were any good.

I happily threw myself into research and am sharing the results with you.

First of all– as you know, something I never do here is criticize books. I find the ones I consider the best, whether old or new, and I share them here, and I never point a finger at the books I consider… less stellar. If you want criticism and negativity, may I introduce you to the internet? But I don’t do that here.

And I’m not about to change that.

That said, I can’t stop myself from one little exclamation here: OH DEAR GOD, there are a LOT of… lackluster… early reading books out there! And, yes, the only reason the language I used was polite is because I know my mother reads this blog. I actually found it difficult to winnow through the early books to find ones I was content to pay for. Thank God for well-curated book shops run by intelligent, thoughtful women at 237 Washington St. in Brookline and here’s the website again in case you missed it the last twenty million times I’ve plugged them. Seriously, if you’re looking to sort through a whole whack of books to find the good ones: enlist help!

Let’s start with the books that started it all: Catwings, by the remarkable Ursula Le Guin, whose work I am now learning to love– sadly, too late to write to tell her so. I really regret that. (Let this be a lesson to you: read early and often and always write to tell the author so.)

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I found Catwings quite by accident at the Harvard Book Store. I asked a young woman there whether she’d recommend it for my five-year-old daughter and she hesitated and said, “Wait a couple of years.” So of course I bought it… for… some… reason…? I don’t know, don’t judge me. I’m sure you’ve done the same.

That evening I walked into my room and found the Changeling had rummaged through my bag and found it and was now fully immersed in the story. I quietly left the room and sat down, wondering what to say. After supper I asked her whether it was good, and she said that it was very good but Chapter 2 had sad and scary bits.

Once I recovered from the shock of discovering that my baby girl was reading Ursula Le Guin books I’d never read (I read it that night, and, yep, there are sad and scary bits in Chapter 2), I went out and got her the rest of the series.

People, these books are good. They’re solid, well-written stories, succinct without feeling truncated, and beautifully crafted. That goes without saying. But in addition to the beautiful structure and writing, these books talk about feeling excluded or included, finding your tribe, and what it’s like to be a misfit– all without preaching or being in any way didactic. The books, and there are four of them, are slender, but they sure aren’t thin: if you have, say, a Grade 4-aged child who’s feeling out of place in class, this is the book I’d choose to give them. It won’t change human dynamics, but it will help an outsider feel less alone.

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This next series, The Cobble Street Cousins by Cynthia Rylant, came to me directly through Terri at The Children’s Book Shop. I told her that my Changeling had read all of the Catwings books and needed something similar in skill level, but it couldn’t be more dramatic or intense than Catwings or she’d get scared. (Seriously, the Changeling is a darling but has been known to hide during the more intense bits of “Elmo’s World.”) Terri said, “But of course she’s read Cynthia Rylant’s books…” I replied, “Um…” and the next thing I knew I was watching my little daughter bury her delighted (and delightful) little nose in the pages of In Aunt Lucy’s Kitchen.

Like Catwings, these books are slim, very quick to read, but more sophisticated than other books of similar girth. Unlike Catwings, there’s no shade of darkness. That said, Cynthia Rylant isn’t anodyne or boring. The tension and excitement of the books is a product of three little girls living and scheming together in their aunt’s home. Aunt Lucy is everyone’s dream aunt: sweet, encouraging, and wise (hi, Auntie Janet!). The girls are friends, and their complementary characteristics help them take their plans to the next level, but without danger of embarrassing failure. Altogether, the books are sweet and dreamlike, but with enough spice of personality to keep them funny and warm, not pretty and saccharine. And there are six of them! (These are probably the Changeling’s current favourites.)

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I’m including this last book, The Hundred Dresses by Eleanor Estes, illustrated by Louis Slobodkin, not because I think it’s at the same level as Catwings and The Cobble Street Cousins (it’s a notch older), but because of how the Changeling and I learned of it and loved it together, so I think it’s a good “read together” book for this age.

I didn’t read this when I was younger, which is astonishing because I knew of it through my mother, who loves it and used it with her Grade 4 classes, and I really ought to have read it. But when my daughter first made mention of teasing at school, I remembered my mother’s words about The Hundred Dresses and immediately got it to read with the Changeling, and we curled up together on our comfy, cat-clawed green sofa, and accordingly read it.

It was better than I’d ever expected. Take a look at the cover up there: the illustrations exactly capture the book. They’re warm, somewhat fuzzy in detail, but nevertheless convey a sharp picture of events. Likewise, the book doesn’t say “the girls were bad and mean to poor Wanda,” but Maddie’s perspective conveys their casual callousness towards her, and makes it painfully clear how Wanda was driven away by the relentless teasing she experienced.

How much did the Changeling understand? Enough. She didn’t get the nuance of Maddie’s position, for example, being both inside and outside the teasing. But she did understand that teasing is cruel and that standing up against it is the right thing to do.

But, you know, that’s not the point. The point is literature. The point is that she was caught up in the girls’ stories and experiences and loved it enough to go back and start to read it on her own the next day. (I’m not sure how much of it she was able to get through on her own, but I was pleased to see her engrossed in it.)

So, there you are. Two series and one standalone book for early-to-middle-range readers. Books with depth but no preachiness, books with stellar illustrations and nuance, books with a touch of humour and/or thoughtfulness. I have more to tell you about later, but these are all books to carry us through the next few days, no matter how the midterms go. And these are all books that, in my view, stand against the tide of infantilizing our children. I recommend them all with all my heart, and I hope your children enjoy them as much as the Changeling does!

And, you know, I’m still looking for good books for her– especially new ones. Any suggestions are welcome!

Stumpkin

Given that Hallowe’en has and will always have a special place in my heart, I try to produce some good Hallowe’en books for the Changeling every year, and  I also try to let you all know about them in case you’re as avid a Hallowe’en fan as I am! In the past we’ve seen my all-time favourite (How to Make Friends with a Ghost), some books for younger kids (Scary, Scary Halloween, Ten Timid Ghosts, and Ghosts in the House!), and two good picture books (Room on the Broom and I Am a Witch’s Cat).

This year I was at a loss, but absolutely determined to turn up something good for the Changeling. Everything I saw was too cute or too scary, too young or too old, etc. Then I saw Stumpkin by Lucy Ruth Cummins (also illustrator of This Is Not a Valentine, so I guess I really like her!), and it’s cute without being sweet, not at all scary but still Hallowe’eny, young without being silly, and, I think, a very worthy addition to the world of Hallowe’en stories. (I bought my copy at the Brookline Booksmith, a lovely store. Surely you can find a copy at your local book shop, too! If not, the link I provided is to the Brookline Booksmith– and they ship. No excuses!)

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Warning: I haven’t actually read this with the Changeling yet, so I don’t have her perspective, but I think I know her well enough by now to be pretty certain of her taste. (It’s her morning surprise for Hallowe’en. YES I KNOW I’M A SOFTIE I DON’T CARE!)

The first thing to know is that this isn’t a story about ghosts or witches or hauntings; there’s no graveyard or ghoul, and costumes do not play a major role. Rather, it’s a story about fitting in, being loved, and finding your home and your family.

So what does that have to do with Hallowe’en?

Well, Stumpkin the pumpkin is practically perfect– except that he lacks a stem. He watches sadly as, day after day, every other pumpkin is taken to a new home to light up houses on Hallowe’en. Every other pumpkin– except him. I won’t spoil the exciting finish for you, but I will say that poor Stumpkin’s plight speaks to every kid who’s been the last one chosen in gym class, who stood miserably on the sidelines of dances, or who got used to carrying a book or some knitting along with them because they just knew they’d be left out.

And yet Stumpkin reassures us in the end that each of us has a place and a home (I’ll stop there– no spoilers!).

(Also, what better time of year is there to discover where you belong than the day when identities are turned upside-down and you can be whoever you wish to be?)

Aesthetically, this book is just perfect for the text (illustrations rendered in gouache, pencil, ink, and brush marker). The feel is young without being juvenile, and the palette (mostly black and white with pops of orange and green) has a gloriously vintage feel without being too sophisticated for the language of the book.

The message is important, the look and feel are beautiful, but I’m going to tell you what I love best about this book, what I’m really looking forward to with the Changeling. You see, we haven’t talked about this very much, you and I, but the Changeling has become a pretty good reader in her own right. She’s been reading the Catwings series by Ursula Le Guin and Ramona the Pest by Beverly Cleary.

So why didn’t I get her something a bit older for Hallowe’en?

Well, a) I didn’t see anything at her reading level which spoke to me (that’s probably on me; I’m sure the books are out there and I just didn’t find anything in time); b) I have long felt that even when kids start reading chapter books on their own, we should keep them reading picture books simultaneously; c) following from that last point, I felt that Stumpkin hit all the right notes for my Changeling, and I want her to read it.

So, then, what is it I particularly love about Stumpkin? Well, my girl, just starting Kindergarten and beginning to encounter certain social issues (what it means to be teased or left out, etc.), will read a story about finding your home, not being alone in the world, and being accepted for who you are. She’ll read this in a book that’s not too sophisticated to be understood, and in a medium which isn’t in the least didactic. That, I think, is worth its weight in Hallowe’en treats.

Also? Bringing us back to the part where I say I know my Changeling’s taste in books?

Stumpkin has a cat in it.

Yeah, she’ll love it. I hope you do, too!

And do you know any other great Hallowe’en books? Tell us in the comments!

The Dam

Ever since I read Town Is by the Sea, I’ve been looking for more books with a similar muted aesthetic, as deep a tone and complex an atmosphere, and which nevertheless manage to be as fresh, original, and necessary as Town Is by the Sea. In short, I wanted more, but not more of the same.

A couple of weeks ago I arrived at my local shop and my favourite shop lady (I should get her permission to use her name on the blog…) was on the phone with the owner, Terri. She told Terri I’d just walked in (I love these people, it’s why I give them all my money) and Terri said, “Has she seen The Dam?” I hadn’t, so the shop lady handed it over, and, after the briefest glance at the cover, I helplessly gave her my credit card. Terri, even without being in the room, had managed to find me the book I’d been looking for.

The Dam.jpg

Much as in the case of Town Is by the SeaThe Dam deals with landscapes, and, above all, with changing landscapes. The story is of a town in Northumberland which was once rich in farms, people, and music. After the people left, it was to be flooded to create a lake, but before the dam was built to flood the valley, a father and his daughter bring music back to the abandoned town one last time.

Even typing those words evokes the feeling of loss so skillfully engendered by the story and makes my eyes prickle. Somehow, even though I have never been there, author David Almond and illustrator Levi Pinfold manage to bring the lost town so to life so vividly, and yet in such muted colours, that it both feels familiar and distant. Why should I feel like crying over a place utterly unknown to me? More than that, I’ve never been attached to an analogous place: the town where I grew up was small, it’s true, but was in no danger of abandonment. So why do I feel the ache of familiarity as my eyes scan Levi Pinfold’s beautiful illustrations (in charcoal, ink, pastel, and digital media) and read David Almond’s masterful text?

Two elements spring to mind: a) The music which is evoked by text and illustration seems to hover just on the edge of hearing. The rhythm of the text isn’t quite poetry, but feels very like it; the illustrations never outright attempt to “record” music (if such a thing were possible in art), but it’s suggested in the flitting rhythm of the dancing ghostly figures. Music easily speaks of loss; whether or not it’s familiar doesn’t seem to matter to, for example, Verdi. When art and text evoke music, it’s all over– my self-control is gone. b) Art, text, and music all draw the book together to make the town itself a character in its own story. It ceases to be a distant place I’ve never visited and becomes a dearly-loved friend: the music becomes elegiac, mournful, almost funereal. We go from being readers to attending a memorial service.

So, I warn you, this is a beautiful, haunting book, but beware of that word: “Haunting.” I read it a few weeks ago, and read it with my Changeling, too. We both loved it passionately.

And it has been sitting on my bedside table since then. Shelving it seemed somehow disrespectful, so it’s been haunting me from that table ever since. I’m hoping that having written this I’ll be allowed to shelve it now.

It’s autumn, now, and autumn is a good time to say goodbye, I always feel. So step out and get this book, and say goodbye to a long-drowned town with me.

And then play some music.

The Golden Glow

I’ve been missing picture books lately. That’s sort of an odd statement coming from someone with… a lot… of picture books in her house, and who reads said picture books rather a lot. But I haven’t talked about them with anyone for a while. And then it occurred to me that I have a blog for just this reason, and while I love the MG fiction I’ve been writing about, well, I miss writing about picture books! (I am a simple, not-too-bright creature, and this took a while to register.) I happen to have a crack of time available to me right now, so we’re going to talk about a picture book now. And not just any picture book– one which was recently released by Tundra.

I don’t know that I’ve talked about my patriotic pride on here often before: my pure, unadulterated joy whenever I find a new good book from a Canadian publisher. And I do love browsing new books from Canadian publishers: Tundra, Kids Can Press, Nimbus– they hold a special place in my heart. We’ve seen a lot of Canadian books here before (This Is Sadie remains a favourite in my house, also from Tundra), but I never get tired of the kick of joy when I find a really good new book that’s produced by a Canadian publisher.

Well, in this case I owe my finding to my mother, who is one of the world’s great book sleuths. Whenever she or Terri at the Children’s Book Shop recommends a book, I know it will be good. And so we come to today’s finding: The Golden Glow, by Benjamin Flouw.

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See that cover image? That’s Tundra’s excellent taste at work there. The art is exquisite, of course, but it’s the design that grabs me. The golden title sparkles against the glowing colours, the sans serif font (and I’m not generally a fan of sans serif) mirrors the angularity of the art (and I’m not generally a fan of angularity in art), and what you don’t get from an online picture is the sophistication of a matte jacketless book. I love everything about the art and presentation. That’s all Tundra for you.

But then there’s the book itself, and this is a debut picture book originally published in France by La Pastèque (and let’s give a shout-out to the smooth translation by Christelle Morelli and Susan Ouriou). I am going to freely admit that I’m petty, and burn with jealousy over really good first picture books like this one. The art is lush and grabs the eye, the story is substantive without being overwhelming, and the message is gentle and non-didactic. No one should have the right to produce a book like this one right out of the gate! And as author and illustrator? Not fair, Benjamin Flouw, not fair.

The story is simple enough: Fox is a botanist, and he discovers in one of his books mention of a rare and wondrous flower, the golden glow. He goes off in search of it, but when he finally finds it, he has a decision to make (spoiler alert!): bring it back home, or leave the plant in its natural habitat and bring back memories (and drawings) of the original?

My Changeling and I have already enjoyed reading this together several times, and I’ve caught her reading it on her own another few times. She loves the illustrations and the gentleness of the story. She’s going through a stage where she’s scared easily and doesn’t like stories which are too sad or poignant (that’s probably genetics at play; I’m a total wimp myself), so a story like this one, marked by muted character development and a very soft touch on the educational bent, is right up her alley.

As her mother, I liked two elements of the story: One, I love the sort of “beginner’s guide to hiking and botany” side of the book. There are pages of common flower identification, of camping equipment, and a lovely diagram of a flower at the end. Without in any fashion disrupting the story, they give a nice introduction to how hiking and flower-hunting work. Two, I love that there’s an undercurrent of love of the outdoors and, by extension, of protectiveness of the outdoors at work, but without ever breaking the integrity of the book as a whole. In other words, there are two streams of educational elements here, but they’re remarkably unobtrusive and they really allow Fox and the hunt for the golden flower to dominate.

If you’ve read here before, then you know what makes me jump from “liking” to “loving” this book: it’s not just the art, or the educational elements, or the font on the cover. No, it’s the cohesiveness of it all. Kirkus says, “The story is solid enough, but it’s the illustrations that steal the show.” I disagree. The story is solid, yes– I’d argue more than solid. But it’s the integration of art and story and quiet lessons in botany and conservation and, above all, Fox’s heart and soul and passion for beauty, that steal the show. (Sorry, give me a moment to recover: I don’t casually disagree with Kirkus on a daily basis!)

Tundra recommends this for ages 4-8 years, and I think that’s about right. This hits the spot for my five-year-old, with simple enough text for her to read it herself, and art which engrosses her on each page.

So grab a copy, and while you’re at it look out for a map and a good pair of hiking boots, and take your kid for a walk in nature!

Revisiting Some Favourites

I assume that everyone reading here is dying to ask me the question, “But, Deborah, which books stick? You read a lot, buy a lot, but which ones keep coming back?”

And, you know, that’s an excellent question. I’m going to tell you about three books which have endured in the love both of my Changeling and, well, my own heart and mind.

Let’s start with one of my favourite recent publications: Karl, Get Out of the Garden!

Karl Get Out of the Garden

I remember buying Karl. I saw it on the Charlesbridge website and fell in love before I’d even entered my credit card number. It was the beginning of my Charlesbridge obsession (do you remember Will’s Words, too?) and remains a favourite. The thing is, when I bought it, the Changeling was a bit young for it. But I recently pulled it out and offered her the option of a few books for bedtime, and she chose this one.

If I loved it before, I love it even more after reading it aloud. The text and the illustrations merge beautifully together, and there was plenty for my daughter to engage with as I read or before turning the page. Make no mistake: this is a “slow read” not a fast bedtime story. If you’re anxious to get your kid to bed, read something else. If it’s the weekend and it’s raining outside and you need something to absorb everyone for half an hour (theoretically speaking, not like that’s been happening all day every day this summer), definitely pick this up! Let your child explore each page fully, and there is so much to explore. Read slowly and enjoy Anita Sanchez’s prose and how Caroline Stock both respects and enhances it in her luminous watercolours. I can’t say how glad I am that my changeling has grown into this book, and that I get to re-experience it through her eyes.

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This book is another one (A Child of Books; my original post is here) I got for myself. I was at my local store and the then-manager, Sherryl, grabbed me and put the ARC for this book in my hands. I immediately pre-ordered it through her and waited impatiently for my copy to arrive. It’s such a favourite that I’ve continued to visit it, and, in fact, just bought two copies as gifts last week. The funny thing is that everyone I respect– Sherryl, Terri, and Amy from the book shop, and my mother– all agree with my assessment that it’s a book for adults. I bought it expecting it to be of interest only to me.

The Changeling LOVES IT.

I bought it when she was three and we read it several times together. She really enjoyed it then, but just recently, she’s gotten super excited about it. She examines the illustrations, teasing out the words cleverly manipulated to depict clouds or mountains; she picks out the titles of books from the endpapers and asks about them; and she reads the plain text, too. It’s another slow read, because you really don’t want to ask your beloved tiny bookworm to hurry up and go to bed. It’s fun to read it together slowly and talk about what you think about the pictures or the fairy tales that make the trees in the woods… there’s just such a richness of bookiness to it that the book I thought was only for me is actually for both of us, each to our level. I thought it was an adult’s picture book, but, actually, it turns out to be a “house of invention” for everyone who would enter it. And I strongly suggest that you pay it a visit!

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I’ve written about Eleanor Farjeon several times before: here, here, and here. What I haven’t said anywhere is that the Changeling and I have been reading a few stories from The Little Bookroom over and over, and they’ve been sticking in her mind. I have a feeling that these stories are going to be to her what fairy tales were to me. I have no idea when I first started on longer fiction (stories rather than picture books), but the Changeling, for whatever reason, has taken to these stories in a way she hasn’t taken to fairy tales. These stories have the same kind of depth as fairy tales, but somehow have a more intimate, child-friendly appeal.

Basically, I think that The Little Bookroom is one of the most underrated, unjustly forgotten collections of short fiction out there, and I, Deborah Furchtgott, hereby vow to do as much as I can to spread the knowledge of it throughout the world and to children everywhere. Eleanor Farjeon speaks to children with a voice entirely suited to them, and without in any fashion patronizing or pandering, and hers were the stories I read to my baby when she was lying in her basket and I was bored witless.

And so these are three books which have endured throughout the years in this family. They’re not the only three, of course, but they’re the three that popped to my mind when I sat down to write this post. And they are, all three, books which deserve a wider audience. So, if you’ve been sitting around thinking, “What should I get for that child in my life?” try these! Trust me: you won’t be disappointed.

Fairy Spell

Do you believe in fairies?

Or maybe: “Deborah, do you believe in fairies?”

I’ve always found it a difficult question, personally. The obvious answer is, “No.” I’ve never seen a fairy (and, believe me, as a child I looked!), I’ve never held much conviction in “sensing” supernatural influences like auras or anything like that, and I found, as a young reader, that the wide variety of fairies in various books made it difficult to know what I was looking for when it came to fairy folk. Small and in the flowers? Tall and gracious? Noble? Mischievous? They came in such diversity that it was clear no one really knew what made a fairy.

But I was a lover of fairy tales and I deeply, passionately, madly loved fairies. I just didn’t know where to find them. Or really believe that they, you know, existed. But I wanted them to, and I couldn’t think of a reason why they shouldn’t exist, if only I knew what they were and where they were.

Which brings me to a book which has been sitting on my bedside table for months, waiting for me to have a chance to read it: Fairy Spell: How Two Girls Convinced the World That Fairies Are Real, by Marc Tyler Nobleman, illustrated by Eliza Wheeler.

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First thing to note: I knew of the Cottingley Fairies, of course, because… fairies. As has been established, I knew and loved fairies and read all about them. Including the famous so-called hoax. I didn’t like the story, though, because it all seemed to circle around “how could Sir Arthur Conan Doyle have been taken in by a couple of girls?” Which seemed to me to be the wrong question to ask.

Second thing to note: Despite my reservations about the Cottingley Fairies story, I was at my local children’s book shop and they had this on display and I fell for it. Hard. The cover was so tender and so beautiful, and the title wasn’t calling it a hoax and seemed respectful… and, let’s be honest, this is a pretty, pretty book. I bought it.

(Newsflash: Deborah Falls in Love with Book and Buys It; Nobody Registers Surprise.)

Well, after I finished a chunk of writing, I cleared up the pile of books which have been waiting for me and this one surfaced again. I read it. And I’m totally, completely, 100% in love. This book, and I do not say so lightly, totally understands about fairies, and I’d just say that Marc Nobleman and Eliza Wheeler get it! They don’t talk down to the reader. They don’t pat those two clever girls, Elsie and Frances, at Cottingley on the head. They don’t sneer at Sir Arthur Conan Doyle for believing in fairies. They get it. Add to that that the aesthetic of the book is stunning in its own right and perfectly suited to the gentle yet strong story of the two girls and the women they became, and you have, I believe, a perfect book of its kind.

The question is how Marc Nobleman wove a story which so encapsulated a famous “hoax” without ever calling it a hoax or imputing that the girls were out to make mischief while so brilliant a man as Sir Arthur Conan Doyle was taken in by their machinations.

What Nobleman did which was so very, very simple, and very, very clever, was to listen to the girls and talk about them, rather than talk about the history of photography, Doyle’s peculiarities, or any of the other numerous angles I’ve seen on this story. He never once says that “fairies are real” or, conversely, that “the girls were out to hoax people,” but instead gently recounts the fun that the girls had together at Cottingley and outlines their motivation for photographing the fairies. Gradually, the story of the fairies grows, outgrowing the girls’ probable intentions, and when it reaches the ears of Doyle, it explodes. The girls stand by their story (in part, he suggests, so as not to embarrass Doyle), and only later in life, after the death of Doyle, do they explain the full story… almost. In fact, it seems that the younger of the girls, Frances, never really made it clear whether or not she maybe did believe in fairies… just a little.

I love how Nobleman treats Elsie and Frances with perfect respect, never imputing any malice or even mischievous intent to their actions. I love how the art mirrors and amplifies this respect. I love how he never looks down his nose at Doyle. I love how he builds a new story out of the old one, a story which never denigrates belief in fairies, or the desire to believe in fairies, and which even demonstrates a kind of respect for that desire. Altogether, I think this is a beautiful account of the creativity and brilliance of two little girls enjoying a summer in a lovely corner of the world– and who enjoyed playing with the fairies, whether the fairies knew it or not.

A River

A River by Marc Martin came out in March 2017, and when it came out I snagged it at first sight from The Children’s Book Shop. At the time, though, I thought the Changeling was a bit young to appreciate it, and it slept nicely on a shelf until I hit a cracking point this week and needed a gentle, beautiful book to help me out a bit. A River did that beautifully, and today, after yet another day of terrible news (please consider first reading this and then donating here) I’m going to tell you about it in case it helps you, too.

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I encourage you to come to this book as you would to a work of art: the words are muted, gentle guides, but the true story comes through the art. A small child sits at the window, looking out to the river. The river stretches off to the distance, and the child pictures a little silver boat on the river. The boat carries the child, exploring wherever the river takes them. Off they go by cities, through jungles, over a stormy sea, and, finally, back home. The story is soft without being flaccid, and it has a core of great strength– the river itself– carrying the reader from beginning to end.

As I said, the art does the brunt of the storytelling, and it does so largely by atmosphere. Everything, from the cover and the endpapers to the story pages themselves, is marked by undulating curves and suffused with a variety of watery colours (unsurprisingly, the art is done in watercolours as well as gouache, pencils, and digital collage). As for the story pages, the opening of the child’s room is full of lush but muted, almost vintage, detail. Toys are scattered, a cat stands behind the child-artist’s chair, and various plants and decorations mark the walls and bookshelves. Then, as you turn the pages, these details come back… the toy car beside the bookcase anticipates the traffic in the city, the horse returns in a farm scene, the toucan in the jungle. Not all details map perfectly to full-page spreads as the river coils on, but there’s plenty to engage the eye– and the eye is busily engaged because the further the river flows from the city, the more luscious the landscape.

This is what I mean when I say to approach the book as artwork: first, because the art is so lush and so dynamic that it really does do the brunt of the storytelling; second, because it’s just so beautiful that turning the pages without being distracted by many words elicits both emotional and rational thought: “Vivid–deep–dangerous” might be the sequence of instinctive responses as you go from jungle during the day to jungle at night to sailing through the mangroves. And that tells you something, emotionally as well as intellectually.

As for me? My chief response, oddly, was peace. Sure, there’s a lot going on beyond peacefulness: the animals in the jungle are surely dangerous, and the stormy seas certainly aren’t peaceful, but relinquishing rational, analytical thought for a moment and allowing my mind just to pulse with responses to beautiful art– that’s peaceful, just like the quiet thoughtfulness of a museum (I wonder: did Delacroix paint a single peaceful painting in his life?), or that moment in between the end of a concert (be it Bach or Berlioz) and the beginning of the applause.

This is, simply put, a beautiful book, an art book. If children had coffee tables, this would be a good coffee table book for children. And if you need a quiet space around your child’s bedtime, this is the book I recommend. Take your time flipping the pages, and let your child prattle on about what they see; after all, they’re the ones voyaging on a little silver boat along the river with the child telling the story… and then coming back to go to bed. Sweet dreams.

Shelter Giveaway over!

Dear Readers,

The giveaway is over, and I’ve emailed the winner, so if you donated you should check your email!

I want to thank you for everything: for caring about this pressing issue, for your donations, for your notes and your thoughts, for your willingness to stand up against what is wrong and for embracing what is positive and helpful, and, above all, for letting me do my bit to help out. I wish I could send books to each and every one of you!

Thank you all, and check back later for some more beautiful books. I have one beside my laptop right now which I think you’ll all love.