Not Here But Still Here

Body language and eyes convey the news even if a parent, staff member or student has not already spoken with you.  Sometime between the last time you saw this student and now, they have suffered a loss.  It happens to all of us no matter our ages, usually without warning.  Even if we know it's coming the hole in our hearts is huge.

When love is shared between two, day in and day out during the course of their lives, filled with ordinary and extraordinary events, the absence of one is keenly felt.  Ida, Always (Atheneum Books for Young Readers, an imprint of Simon & Schuster Children's Publishing Division, February 23 2016) written by Caron Levis with illustrations by Charles Santoso is first a look at the strength of a bond formed by two animals in captivity.  It further cements the belief that all animals can suffer the loneliness of losing the one loved.

Gus lived in a big park in the middle of an even bigger city.  Buildings grew around him and shifted the shape of the sky.

As sure as an alarm on a clock, each morning when the keeper Sonya brings food to Gus and Ida, two polar bears, they each leave the comfort of their respective caves to spend their day together.  They play with Ida's cherished yellow ball, frolic in their pool and rest on their favorite rock.  They have thoughtful conversations.

When Gus wonders, Ida answers.

"You don't have to see it to feel it," said Ida.
"Listen."

She reminds Gus what the noises they can hear mean.  Each day closes in the comfort of this constant cadence of their lives.

Upon waking one morning Gus is puzzled to hear all those city and park sounds without the presence of Ida.  He knows Ida is in her cave; her breathing reaches his ears.  Sonya explains to Gus about Ida being so ill her body will eventually sleep without waking.

Gus immediately runs to Ida angry and afraid.  She responds in kind, angry and afraid.  Eventually they sleep next to each other, quiet in their closeness.  Peace.

Days are brimming with ups and downs, silence and not silence.  Each evening ends the same, a mantra of longing.  Then Gus is alone.  BUT remembered words warm a soul like the sun brings heat to the fur of a polar bear sitting on a favorite rock.


When Caron Levis describes the Central Park Zoo, the habitat of Gus and Ida and the city surrounding them, she does so from personal experience creating a vision for readers.  Her use of short, informative sentences, the repetition of key phrases and a blend of dialogue and narrative supplies an invitation for us.  The sounds of the city are integral to the story.  Single words and near poetic sentences bring them from the page into our respective reading spaces. She compels us to become a part of Gus's and Ida's world.  We follow with pleasure and fall in love with these two magnificent creatures.  Here are two sample passages.

They heard buses groan; trucks rumble;
police whistle; taxis honk; pigeons coo;
people say Hey, Wait Yo, Hello;
and children laugh.

Two bears sniffled, two bear breaths panted, 
two bear hearts echoed each other's beat.


Even if you know absolutely nothing about this story, looking at the illustration on the opened matching dust jacket and book case portrays the affection felt by the two bears in their space within the confines of a city.  Charles Santoso's attention to the sky and skyline in this initial image, in the entire book, is spectacular extending from left to right, back to front.  Of particular notice is the color selected for the opening and closing endpapers; a lighter shade of purple followed by a darker hue.  I have always thought of purple as signifying royalty.  Surely by all accounts this is how these two bears were to all who visited them.

On the initial title page we are gazing at a pale blue sky filled with clouds in the faint shapes of polar bears. (Santoso does use shapes several more times within the body of the book.)  In small text we read the words

ida,

ALWAYS 

centered to the right edge.  The more formal title page, verso and dedication pages are a panoramic view of New York City and Central Park.  

Rendered digitally but looking like finely detailed paintings Santoso brings warmth of emotion to each picture.  Wide-angle views of the park from a bird's perspective and closer encounters with the two bears balance in a pleasing portrayal.  Visual size enhances the pacing; sometimes odd shaped or more traditional panels are used or a circular image framed in a liberal amount of white space.  These ask us to pause.

Santoso skillfully combines an interior look at the bears' homes while including the city in the background.  It is obvious he has studied his subjects conveying them realistically.  Can you see the small animal (s) he places in many pictures?  I see this as a constant and of life moving forward even in sadness.

One of my favorite illustrations, of several, spreads across two pages.  On the left in a circular display as the sun sets is the skyline of New York City with colored clouds and birds gathering for the evening in the trees.  It is framed in vegetation and rocks as if seen from a bear cave.  To the right inside the cave Gus and Ida are together, eyes closed and at rest.

Ida, Always written by Caron Levis with illustrations by Charles Santoso is a truly moving account of an enduring love and the loss of one part of a very special whole.  Thoughtfully written and illustrated, based upon a true story, it sends a beautiful message to everyone about grief.  It helps us to remember that what we cannot see can still be visible in our hearts.  An author's note is included on the last page.

To learn more about Caron Levis and Charles Santoso please visit their websites by following the links attached to their names.  They both have updated blogs linked at their websites. There is an excerpt from a developing activity guide on Caron Levis' blog. (Update:  April 18, 2016 The guide is now complete.) Charles Santoso has a Tumblr site. There are ten interior images at the publisher's website.  I think you will enjoy this radio interview. 

Here are some links to newspaper articles about Gus and Ida found at The Daily News, The New York Times, Huffpost Green and Gothamist.

Update:  March 17, 2016  I really enjoy when illustrators share portions of their process.  Here is a new tweet sent out by Charles Santoso.

Found these scribbles in my sketchbook. These were the start of many options for #idaalways cover. Time flies.. pic.twitter.com/67w9GTj0ur

— Charles Santoso (@minitreehouse) March 17, 2016

While Everyone Sleeps

Daylight fades with the sky turning dusky shades of red, purple, blue, orange and yellow painted by the rays of the setting sun.  Flocks of birds gather in groups, resting in tree tops.  Burrows, holes in trees, beds in ponds, rivers, streams, lakes, fields and forests are sought.  Humans and most of their natural world counterparts are ending their day looking forward to hours of rest.  As each drifts off to sleep they do so certain when they awaken their surroundings will be as they were unless weather or the seasons make their mark.

Imagine if you will, upon waking, finding something so extraordinary you have to pinch yourself to make sure you are not dreaming.  The Night Gardener (Simon & Schuster Books For Young Readers, February 16, 2016) written and illustrated by The Fan Brothers (Eric Fan and Terry Fan) explores the idea of a single significant act of beauty as the beginning of marvelous changes.  Something or someone is working a kind of enchantment.

William looked out his window to find a commotion on the street.

Dressing with the speed of lightning he ran out of the orphanage to discover the tree outside his building was no longer an ordinary, everyday kind of tree.  Its leaves and branches had been formed into the shape of a huge owl watching the world in its infinite wisdom.  It was no wonder William could not take his eyes off this work of art until he fell asleep full of anticipation.

Each morning a new creation greeted William and the people residing on Grimloch Lane.  It might be something as normal as a house cat or as exotic as an elephant.  The topiaries were not the only thing new in this community.  More and more people were taking the time to look at these reshaped trees.  Life in this community was shifting from gloomy to bright.

On the sixth morning, two trees had been joined together in a fantastic display.  A creature from legend flew above the street.  That night people did not want to go to sleep.  They celebrated their good fortune well after dark.

On his way back to the orphanage William saw a silent unfamiliar figure walking down the street.  Something prompted him to follow.  As the mysterious stranger walked through the gates to the park, he turned to William and spoke.  His words, his work and his gift altered the heart of one boy and minds of many now and forever.


Terry Fan and Eric Fan, The Fan Brothers, use easy conversational sentences encouraging readers to turn pages seeking the newest leafy monument fashioned by the night gardener.  Pacing is enhanced with pauses in those short phrases through the use of punctuation.  This writing technique allows for the stunning pictorial narrative.  Here is a sample passage.

That night he went to sleep
with a sense of excitement.

The following morning,

William was not disappointed.


Rendered in graphite and colored digitally the opened dust jacket (and interior illustrations) conveys a sense of extraordinary, magic in the night, from left to right, back to front, with two majestic trees on the left and William gazing at the transformation of one on the right.  The full moon adds to the atmosphere of change in the offing.  On the book case against a background of charcoal gray, the pale blue green is used to create a branch of oak leaves and acorns on the left.  To the right a single wide branch, bent to form an oval frame, surrounds a hat with a tiny bird perched on top.  Beneath them is a pair of hedge shears.  The opening and closing endpapers are patterned with light gray drawings of curved tree branches, leaves and the tiny bird on a pale sage green background.

With a page turn we see the publication information tucked into the lower left hand portion of a double-page spread showing Grimloch Lane in dull gray-brown, homes in need of repair, people walking down the street with bowed heads.  In the far left-hard corner, someone is walking into the town carrying a rolled blanket and ladder over their shoulders strolling with the assistance of a walking stick.  The dedication page introduces us to William drawing his version of an owl in a sandy patch in the grass.  The stranger passes him on the sidewalk.

The next full page illustration is of the Night Gardener sorting his tools under the light of the full moon.  The story continues on the title page with the next full two-page image.  The Brothers Fan use exquisite artwork, four separate pictures, to begin their story without the use of words.

The use of matte-finished cream-colored paper enhances their illustrations alternating in size from single page images to two-page pictures or a smaller visual surrounded by the background color. With the revelation of each topiary more color is added reinforcing the impact of the gardener.  The Fan Brothers also increase the amount of people appearing in the pictures.  The people are engaged in making improvement to their homes, the community and their ability to enjoy life.

Readers will enjoy looking at all the intricate details; a picture of a couple next to the orphan boy in his bedroom (his parents?), the repeated appearance of the little girl in pig-tails and striped shirt, the arrival of multi-colored birds, a white rabbit sitting quietly beneath the rabbit topiary or the significance of a pig and rooster joining the crowd and the numbers 69 and 71 on two of the doors.   One of my many favorite illustrations is of the Night Gardener.  It is a close-up of him turning toward William. His face is framed by the light of the full moon with a tree trunk and leaves to the right.  He is wearing his hat.  On one shoulder his bed roll is perched and over the other is his satchel.  You can see he is carrying his ladder in one hand and using a walking stick with his right hand.  His eyes and the shape of his mustache portray a smile in his words.

You will be filled with expectations or at the very least look for small pieces of wonder in your world when you next wake up after reading The Night Gardener written and illustrated by Terry Fan and Eric Fan.  One person intent on sharing their gifted skill can make an eloquent statement resulting in permanent change.  The kindness of one toward another who needs it is immeasurable.  I find the bridge between generations to be particularly moving. This title comes with my highest recommendations.

To learn more about The Fan Brothers, Eric Fan and Terry Fan and their other work please follow the links attached to their names to access their websites.  At the publishers website eight more illustrations are available for you to view.  Please stop by Twenty by Jenny for an interview with the brothers.  Enjoy the video which depicts how the brothers collaborate.



UPDATE:  Enjoy Five Questions With Eric & Terry Fan July 11, 2016

Raise Your Voice And...

It they stop frozen in place, you do the same.  If they start to growl deep in their throats, you had better look, listen and be ready.  If they begin to howl, calling out to others, lift you head and raise your voice to join the chorus too.  When the barking starts, remember there is safety in numbers.

As humans fortunate enough to share their lives with canines can attest, barking or howling with your dog can be particularly liberating instilling a sense of fearlessness.  It's as if you've joined a pack as old as time.  Lionheart (David Fickling Books, Scholastic Inc., February 23, 2016) written and illustrated by Richard Collingridge (When It Snows) follows a small boy and his beloved stuffed lion during an escape; an escape leading them to place of marvelous wonders.

"There can't be.
There can't be.
There's no such thing
as monsters."

But what was that sound?

Terrified of the noise and what it represents, Richard runs holding his stuffed lion, Lionheart.  Together they move as quickly as possible out of his bedroom and home, through the town and into the surrounding countryside.  He can't shake the feeling of being chased.  As he travels the grass shifts turning into threes.  In his fear he loses Lionheart.

Richard does not stop until he finds himself in a jungle filled with all sorts of animals from a variety of habitats.  Before he can even enjoy the miracle of where he is, fear fills his heart.  The monster approaches.  Richard flees again.

The jungle scene blurs on either side of him as he attempts to escape.  Richard runs until someone stops him.  This someone is Lionheart!  He's huge, alive and he speaks to Richard.  Together they enjoy the magical majesty of the jungle landscape going deep into the heart of the Lost City.  Richard's fear is no longer present replaced with fun.

With sure knowledge Lionheart understands the monster is still traveling toward them.  Soon all the animals can see it.  The air is thick with fear.  Richard looks at the monster and then at Lionheart.  A lesson has been learned.


Richard Collingridge conveys through initial dialogue and subsequent narrative, the exact feelings of childhood fears, of monsters under the bed, at night.  The word choices and sentence lengths are descriptive and tightly woven.  With the repeated use of ran and running we are particularly aware of his unease and the nearness of the monster.  This pushes us making the moment when Richard runs into a fully grown and alive Lionheart all the more spectacular and the following time of play more meaningful.  Here is a sample passage.

All around him the grass grew thick, and turned into sticks,
and the sticks grew tall, and turned into trees, 
but still he was being chased...
so Richard kept running.


When you first see the front matching dust jacket and book case, it's hard not to gasp.  You know the boy wearing the lion's head hat is experiencing something out of the ordinary.  Luminosity acts a bridge between the two noses.  Intricate gold foil designs color the title text.  To the left, on the back, we are looking through a light-filled tunnel of trees taking us into the jungle.  The opening and closing endpapers are a replication of the pattern on Richard's bed blanket; darker orange lion silhouettes on a pale orange canvas.  Beneath the title page words is the stuffed toy lion with the Lionheart tag showing.

Richard Collingridge alternates between large double-page images, slightly smaller illustrations leaving a column for text and black and white sketches which extend the narrative, a series of paneled visuals on a single page, edge to edge single pages and single pages framed in varying amounts of white.  He dazzles us with a rich color palette brimming with atmosphere.  He takes us close to Richard to emphasize an emotion and then alters the perspective giving us a panoramic view of the city, jungle or Lost City.  Your wildest dreams of a royal realm of animals in a fantastic setting are realized.

The details in the decor in Richard's bedroom allow us to understand his love of animals as does his red pajamas with the lion's tail attached in the back.  The mix of vividly hued, spotted mushrooms, scampering squirrels, exotic plants, moose, tigers, giraffes, rabbits and numerous birds along the jungle path and within its glens convinces us of the magic found in this place.  You can hear the sound of the water falls as Lionheart and Richard move beneath it, sun sparkling on drops.  Each picture is like a separate part of a fabulous whole.

One of my favorite illustrations, on a single page, is on a background of white.  Richard is standing still, head and eyes raised.  We can only see the upper portion of his body.  The lion's head hat appears as if it is looking at something too.  Richard's face is glowing in astonishment as he stands at the entrance to the jungle.  You know he has just inhaled.


Lionheart written and illustrated by Richard Collingridge is a beautiful portrait of a journey toward facing your fears.  It goes straight to the child's heart in all of us reinforcing the comfort and courage to be found in a stuffed toy companion.  Before story time you might want to make sure you have a stuffed toy lion available for readers to hold.  There is magic to be made.

To discover more about Richard Collingridge and his other work please follow the links attached to his name taking you to his website and blog.  In an article at The Guardian Collingridge shows readers How to draw...from your imagination.  Enjoy the trailer.

A Trio Of Tantalizing Treats

The number three is commonly found in folklore.  As a storytelling technique it supplies a cadence to the narrative.  Listeners and readers seem to gravitate to this rhythm as if it's wired into their DNA passed on from generation to generation.

 Believing good things come in threes, the three most recent years have provided younger readers with a trio of charming titles.  Early Bird (Feiwel And Friends, January 28, 2014), Night Owl (Feiwel And Friends, January 27, 2015 and Cat Nap (Feiwel And Friends, January 26, 2016) all written and illustrated by Toni Yuly draw readers' attention to a single character in each book.  Within their stories each reveals a surprise.

Early Bird likes to wake up early.

A morning stretch helps her to feel tall.  Filling her lungs with daybreak's clear air, she sets off with a mission on her mind.  Nothing distracts her from her path; not even the spider peering from her web.

She weaves her way through grass, flowers and past the fence in the yard.  Cleverly she eludes a sleeping cat.  Moments later she reaches her goal, the garden.

Waiting there is

the Early Worm!

After this trek Early Bird finds herself with a healthy appetite.  It's time for a juicy feast.


Five sentences form this story.  Toni Yuly uses easily understood adverbs defining them within the text and her illustrations.  They are used to indicate direction making them integral to Early Bird's early morning trip.  Here is a sample portion of one sentence.

Across the grass
through the flowerbed
under the spiderweb ...

Though the illustrations on the front and the back of the matching dust jacket and book case are different, Toni Yuly has them placed to create a pleasing blend as if they are one.  Primary colors paired with the white picket fence and firm black lines have a huge appeal for the intended audience.  The opening endpapers are done in a deep midnight blue.  A cheerful golden yellow, the same as the butterfly on the front, covers the closing endpapers.

Yuly uses the title page to begin the story with a crescent moon in the sky over a sleeping Early Bird in her nest.  Sixteen double-page images follow Early Bird on her journey with the backgrounds gradually getting lighter until the shade on the closing endpaper is reached.  There are two exceptions to this pattern with the background in white.  They represent critical events in the story.

Very exact details dictate the mood in this story; the eyelashes on the sun peeking over the horizon, the three ladybugs on the blade of grass, three bees among the flowers, a flower becoming the letter o and the musical notes on the final picture.  There are not a lot of elements in each picture but each is essential.  The layout and design form a wonderful pace along with the placement of the text.

One of my favorite illustrations is of Early Bird breathing in the crisp morning air.  The background is a lighter hue of the dark blue.  On the left side of the image is a large orange, pink and white blooming flower.  To the left on a darkened hill stands Early Bird head tipped back, eyes closed and beak open.  The air is moving around her.



Night Owl likes to stay up late.

He bids the sun farewell and greets the moon.  Someone is missing.  Mommy Owl has disappeared.  He hears a sound.  Perhaps it is Mommy Owl.

It's not quite right.  It's only Woodpecker.  What's that noise?  Flying to investigate, Night Owl discovers that this sound is too long to belong to his mother.

He looks high and he looks low.  Mommy is not to be found.  A noisy storm sends him back to the safety of his tree hollow home.  Comfy and as brave as a little owl can be, Night Owl starts to drift into dreamland when he suddenly finds himself awake.  Mommy?


Using more sentences in this story allows Yuly to establish a different sort of rhythm.  As soon as Night Owl discovers Mommy is missing he listens, hears a sound and looks to see if it's his mother.  It's a question followed by an observation and then an answer.  Readers learn about short, long, high, and low kinds of sounds. Here is a sample portion.

He listens...
tap tap tap
...is that Mommy Owl?
No, that sound is too short.
It is Woodpecker.

As in the first book, Toni Yuly astutely blends the front image with the back illustration on the matching dust jacket and book case.  The branch on which Night Owl is perched goes to the dark spine.  To the left of the spine is a large tree supporting another branch holding up Woodpecker as he makes a hole in the trunk.  The endpapers' colors are a reverse of the first book; a paler golden yellow to a deeper blue.

On the title page Night Owl is resting his head on his wing as if it's a hand, looking outside the hole in his tree.  All of the illustrations span two pages with the exception of two single page pictures.  The background hues are varying shades of the blue and purple colors of night.

Careful readers will see that Yuly places small details from one illustration in another.  On the page with Woodpecker, the train tracks appear at the bottom.  Cricket follows Night Owl to the pond.  Using a much light shade of purple for the sounds, different fonts and positioning them apart from the narrative text is wonderful.

When Night Owl first finds out he is alone is one of several favorite pictures of mine.  A lighter purple background blended with a slighter darker layer on the bottom allows the moon partially covered by clouds and the tree branch to stand out to the reader.  Night Owl is shown with four different head positions on the same branch; right, back, left and forward.  He is most definitely more wide-eyed than usual.



The clock says noon.
It's time to rest.

Clearly Cat is in agreement with taking a nap.  Clearly Kitten would much rather seek out fun. And she does not want to do it alone.  Nothing would please her more than sharing this enjoyment with Cat.

A suggestion of a game of hide-and-seek is met with grudging acceptance.  This might work out for Cat if the right spot is found.  Unfortunately Kitten is a very skilled detective.

Wherever Cat goes, Kitten follows.  All this hiding has made Cat more tired than ever.  He can hardly wait to curl up in his bed and fall fast asleep.  Kitten wins again!


Toni Yuly lets her readers know very quickly there is a contest of wills which will drive this story.  Each time Cat hides and is found by Kitten the tension grows as we move high and then low, in the dark and into the light and inside and outside.  It is the perfect setup for the conclusion.  Here is a single portion.

Cat hides down low.
Kitten finds him.  Again. 

The colors shown on the front of the matching dust jacket and book case are used throughout the title with the addition of shades of brown and gray.  You can tell from the wide-eyed look of Cat and the eager grin on Kitten's face, this story is going to be filled with humor.  The red from the jacket and case is used for the opening and closing endpapers.

On the title page Kitten is leaping beneath the text after Cat who is almost off the page to the right.  With the exception of two pages divided into four images, all of the illustrations are spread across both pages.  There is a definite retro feel to the interior of the home based upon the design and individual elements.  The shelving is filled with many interesting items sure to generate further investigation and discussion.

The looks on Kitten's face declare her to be a complete scamp.  Cat tolerates Kitten's antics...barely.  A tiny mouse is included in nearly all the illustrations.  When Cat and Kitten are in the basement, the expression on the mouse's face near the spider web will ring true with many readers.

One of my many favorite illustrations is when near the beginning Kitten pounces on Cat.  Yuly has given us a close-up perspective of Cat's face wearing a perturbed expression and eyes looking upward at Kitten.  Kitten is on top of Cat's head, arms and paws holding on between his ears.  Kitten is looking downright gleeful, giving us a toothy grin.


Early Bird, Night Owl, and Cat Nap written and illustrated by Toni Yuly are absolutely brilliant.  Superb pacing in the text and careful placement of details within the illustrations (which appear simple but are more complex in what they convey) make all three of these titles reader favorites during group story time or one-on-one at bedtime.  You must have these on your personal and professional shelves.

To learn more about Toni Yuly and her work please follow the link attached to her name to access her website. Here are the links for the books in order by publication date featured at the publisher's website; here, here and here.  Each one has eight illustrations for you to view.  Toni Yuly and her work are highlighted by author, reviewer and blogger, Julie Danielson at Seven Impossible Things Before Breakfast.  Scholastic Ambassador for School Libraries John Schumacher features her on his blog, Watch. Connect. Read.  Toni Yuly is interviewed at Miss Marple's Musings, The Little Crooked Cottage, KidLit411 and Writing For Kids (While Raising Them).  Podcast chats with Toni Yuly can be found at The Picturebooking Podcast, Storybook Spotlight and All The Wonders.

A Mathematical Mind

One of several benefits of having an affinity for mathematics, at least when I was in school, was to be placed in classes with like-minded people.  One class during one particular year remains firmly entrenched in my memory.  There was a huge push to teach the New Math at that time.  Our minds were blown with working in a base other than ten.  To encourage us to complete our tasks and understand what we were doing, we were promised something we grew to love.

Being a huge fan of science fiction our math teacher would read aloud stories and books as our reward.  He had a gift for selecting captivating titles and stopping for the day at a distinctively edge-of-your-seat spot.  Whenever the period was over many of us remarked how we wished every teacher would do this.  He not only provided support in a subject we enjoyed but he enriched our world further with reading.

When you are given opportunities and encouraged to pursue something you enjoy, it can make a difference not only for you but for others.  Ada Byron Lovelace and the Thinking Machine (Creston Books, October 13, 2015) written by Laurie Wallmark with illustrations by April Chu is a book showcasing the life of a remarkable woman far ahead of her time.  Her passion for numbers and inventions, supported by those closest to her, will long be remembered.

Ada was born into a world of poetry but numbers, not words, captured her imagination. 


Lady Byron, her mother, favored the field of geometry.  Her father, Lord Byron, was renowned for his poetry written during the Romantic Movement.  When still a baby, Ada and her mother left Lord Byron to live with her maternal grandparents.

Ada never saw her father again, knowing him only through his writing.  Frequently left alone by a mother who traveled, Ada found solace in writing and drawing about her two passions.  An invention catching her attention more than others was a flying machine. She even constructed a set of real wings.

One day as a storm whipped up the wind, Ada got an idea.  Taking all her papers filled with calculations, notes and drawings she left the comfort of her room to test a theory.  At a nearby pond amid the blowing rain, she made a model sailboat which she launched repeatedly, making changes after observations.  Whether it was a result of being outside in the bad weather for so long or not, disaster struck Ada.

A bout of measles left her temporarily blind and paralyzed.  Day in and day out her mother stayed by her side reading to her and quizzing her on math problems.  Her skills in numbers and analytical thinking grew but it was years before she walked without assistance.

A special tutor secured by her mother allowed Ada to connect with Charles Babbage, twenty-four years her senior, who saw the brilliance in Ada.  She became knowledgeable about his Difference Engine and Analytical Engine.  Her work on the second machine, before it was ever constructed, developing mathematical instructions, algorithms, along with her glorious imagination insured her a place in history.


Using defining events in Ada's life author Laurie Wallmark fashions a narrative from her birth until her greatest achievement, at a very young age, in creating the

world's first computer program.

Relying on her research Wallmark takes us to these specific moments with vivid descriptions of time and place.  It's as if we are living them as Ada.  Here is a sample passage.

First, Ada needed to compute the wings' power.  She broke the problem into steps---surface area and weight, wind speed and angles.  Multiplying and dividing, over and over again.
Ada loved numbers, but these calculations seemed endless.  Wasn't there an easier way?  Writing for so long made her finger hurt.  She wriggled them and returned to her numbers.


April Chu depicts the essence of Ada Byron Lovelace first use of the Difference Engine, a mechanical calculator, on the front of the book case.  Her use of color, rich muted hues, conveys a sense of history.  Certain elements in this image appear to glow.  This luminosity and palette are employed throughout the book.  The opening and closing endpapers are a part of the book.  The verso and title pages first and a timeline, partial bibliography and information about the author and illustrator on the last.

Rendered using pencil on paper and then colored on an Analytical Engine the images all span two pages.  Each one is like a portrait of a portion of this woman's distinguished life.  The details in the clothing, the interior design and exterior architecture are striking.  The depictions of London in the distance and the countryside where Ada and her mother resided are gorgeous.  Chu shifts her perspectives with intention; above, wide-angle and close-up so we are a part of each picture.

One of my favorite illustrations is when Ada goes out in the storm to the pond.  We are looking at her kneeling with her journal open before her on the bank.  Her one hand is extended toward a sailboat on the water.  It's raining and the wind is blowing.  Her cat is hiding in her satchel, worried face peeking out.  A frog and turtle are calming watching.


Ada Byron Lovelace and the Thinking Machine written by Laurie Wallmark with illustrations by April Chu is a stunning portrayal in words and images of a woman who spent her lifetime devoted to her passion for numbers and inventions.  She dreamt of a future better for her efforts.  And it is. I highly recommend this title.  In addition to the timeline and limited bibliography mentioned above, an author's note, several paragraphs titled The World's First Computer Program, and Ada's Nicknames are included.

To obtain more information about Laurie Wallmark and April Chu along with their other work please visit their websites by following the links attached to their names.  The publisher has created a seventeen page teacher's guide.  On March 27, 2015 April Chu was interviewed at Author Turf.  To enjoy both Laurie Wallmark and April Chu speaking about the pronunciation of their names at TeachingBooks.net follow the links embedded in their names in this sentence.  Here is a link to one of the posts in the blog tour for this book located at My Brain on Books.  There is a list of the other stops on the tour.  Enjoy the trailer!




Please visit Kid Lit Frenzy hosted by educator Alyson Beecher to see the other titles selected this week by those participating in the 2016 Nonfiction Picture Book Challenge.  I completely enjoy my participation in this challenge.  Each week leaves me better informed than before.

Quintessential Quirkiness

We go about our days expecting certain things to stay true to a pattern.  When they deviate, depending on the size of the difference, our reactions will vary accordingly.  As an educator standing in the hallway each morning as the buses unload and students walk down the halls to lockers and classrooms, most of the gals and guys will be carrying a backpack and wearing clothing in keeping with the current weather, particular season, the latest fad and the dress code.

There is nothing quite so fine as seeing one student who stands out in the crowd looking like they are ready for spirit week when it's months away or has already passed.  Their courage in expressing their individuality is a cause for cheering.  That I smile at them in admiration is a given.  Inside I am dancing with glee.

In Normal Norman (Sterling Children's Books, March 1, 2016) written by Tara Lazar with illustrations by S. Britt an orangutan is the object of intense scrutiny by a junior scientist, who also happens to be the narrator of the story.  She is in pursuit of a theory.  Step by meticulous step she is determined to complete her task.

Hello and welcome to "Normal Norman."

This is my first time narrating a book.

I'm a bit nervous.  I hope it goes well.

My assignment today is to clearly

define the word NORMAL.

An initial examination of Norman seems to indicate his attributes are consistent with other members of his species.  That assessment lasts for mere minutes when Norman consumes an entire pizza and looks at an offered banana with disgust.  Norman further upsets the status quo by actually speaking in English.  What kind of orangutan does that?  

He definitely does not want to sleep near a cave in a jungle either.  Taking the top on a bunk bed is more to his liking.  He also must have Mr. Scruffles; his toy stuffed anteater that our resolute narrator believes refers to his family.  She is stunned to discover Norman's love for Mr. Scruffles.  Her attempts at defining normal are in a shambles.  It's time to regroup.

When Norman's pal slithers into the room, the junior scientist is flabbergasted.  Her introduction of a more suitable friend is the final act causing Norman to escape from this fiasco as quickly as possible.  Dedicated investigator that she is our narrator follows Norman as he enjoys one exciting pastime after another.  Dune buggies?

Despondent at her failure to demonstrate normal, she breaks down in tears.  Tender-hearted Norman offers to help in the resolution of her presentation.  The results are not what you would normally expect.  They're better.

Page turn after page turns Tara Lazar builds her narrative beginning with cheerfulness backed by the firm assumptions of what defines normal.  As Norman breaks these preconceptions one by one the frustration felt by the junior scientist is escalated by specific words choices along with the addition of conversational exchanges between the two.  The disparity between what she believes to be true and how Norman really is generates lots of humor.  Here is a sample passage.

Just a second, Norman.

Who are you talking to?

My best buddy.

Your friend?  You cannot be friends.

You are natural enemies in the wild!

This is exceptionally strange.

Most.  Certainly.  Not.  Normal!

Drawn and painted by hand, then assembled digitally the illustrations throughout are composed using a blend of secondary colors giving the book a feel of joyfulness.  Norman and the junior scientist on the matching front dust jacket and book case start with an eager appreciation of each other.  To the left, on the back, surrounded by a frame of jungle leaves Norman is holding her as she takes notes for her assignment.

S. Britt uses a white background on the opening and closing endpapers extending the beginning and conclusion of the story with two large visuals.  On the first spot color is more prevalent.  On the second full color announces a shift in perspective.

The mixture of images sizes, single page, double page and smaller insets grouped on a page, flow flawlessly.  When Norman speaks the text is placed in an array of bright-hued speech bubbles.  The junior scientist's idea of normal is reinforced by labels on specific items.  Facial expressions on Norman, the junior scientist, the head scientist and all of Norman's friends leave no doubt as to the current mood of each.  Each of these details increase the pure fun of the illustrations.  You will find yourself smiling or laughing on every single page.

One of my favorite images is one of two on a single page.  Norman is buzzing through the clouds wearing a dual-rocket jet jack, a helmet with the initial N on the front and goggles.  Two seagulls are keeping him company on the right.  On his left side in the background is a small biplane flown by the junior scientist with the head scientist riding behind her.  When I see the grin on Norman's face I can't help but laugh out loud.

Normal Norman written by Tara Lazar with illustrations by S. Britt is a delightful journey of discovery in defining normal.  It's a tribute to being your best self, no matter what that is.  Plan on requests for read it again, especially if you use different voices for Norman and the junior scientist.  

To discover more about Tara Lazar and S. Britt and their other work please follow the links attached to their names to access their websites.  This link takes you to the most recent post about this title at Tara Lazar's website. It includes interior illustrations and an activity kit.  A blog tour is in progress beginning at Poetry for Children.   The tour is full of interviews and wonderful extensions like the one found at This Picture Book Life.  Enjoy!

UPDATE:  March 2016 Here's another interview of Tara Lazar at Geek Club Books. 

A Puzzling Predicament

For three hundred sixty-five days you and your best friend have been planning for this single day of pure childhood bliss.  Squirreling away weekly allowances and odd-job monies earned in the neighborhood are part of the grand scheme.  Past experiences help you to generate a list of those places you must visit and of those things you must do.  You have been dreaming with ever growing excitement about the mix of sights, sounds, smells and tastes of an afternoon at the fair.

It seems as though the car ride is endless but your parents finally have the car parked; you and your friend are walking to the entrance.  Strolling through the gateway, you stop and look at each other, your grins growing.  You Must Be This Tall (Margaret K. McElderry Books, an imprint of Simon & Schuster Children's Publishing Division, March 8, 2016) written and illustrated by Steven Weinberg (Rex Finds an Egg! Egg! Egg!) is about a day at the fair full of the expected fun of shared activities with more than one surprising twist.

Frank and Harold are at the fair.

Frank and Harold are as inseparable as the proverbial two peas in a pod except they are snakes.  Of the pair Frank is very long (tall) and thin.  Harold is much sturdier and shorter.

As soon as they can, they are enjoying one romping, rollicking ride after another.  Certainly this twosome is nearing exhaustion or at the very least dizzy from all their experiences.  On the contrary, they nearly shed their skins when they see the ultimate fair marvel spread before them, The Rattler.  This is the roller coaster of all roller coasters.  There is one huge problem.

A very persistent pig announces:

YOU MUST BE THIS TALL.

Harold is too short.  Even standing on the tip of his rattle, Harold is a smidgen too small.

Ever the faithful friend, Frank has a plan.  Actually Frank has several plans.  A costume booth helps them with Frank's first idea.  Unfortunately the proprietary pig has keen eyesight.  Will the high-wire, trapeze strategy work?

Frank's final approach to this dilemma is so shocking readers will be stunned.  They can't believe they are witness to this tactic but they might find themselves bursting aloud in laughter.  A persnickety pig meets his match.


Each sentence written by Steven Weinberg builds a narrative not unlike a roller coaster.  We go up, up, and up enjoying all their fun and then plunging down when they encounter the height requirement.  As Frank puts his plans into action we start going up, up, and up again and down over and over until we reach the top, crowning achievement.  When we descend to the start it is with great satisfaction.

Lots of action is infused into the story with word choices like slammin' and bouncin'.  Adjectives like scary and smelly are completely understandable and reader friendly and sure to elicit knowing nods.  If your younger self (or in my case recently) has tried to reach something on a top shelf, like hidden cookies, two of the pages might find you sitting up straighter or standing on your tippy toes.  Here is a short sample passage.

No fair!
Hang in there, Harold.
Frank has a new idea...
Together they
s t r e t c h ! ...


A kaleidoscope of color in a full illustration stretching from side to side on the open matching dust jacket and book case greets readers' eyes.  We immediately understand the problem Frank and Harold are facing.  Frank looking longingly to the left watching others, a rabbit, duck and beaver, ride the Rattler, increases our empathy.  On the opening and closing endpapers on a darker teal canvas Steven Weinberg has placed a woven wonderment of snake bodies stretching from top to bottom in vertical, rows, looking like an intricate fun-filled maze.  Careful eyes will note the differences between the two endpapers.

Frank and Harold are featured in their contrasting lengths (heights) on the two pages dedicated to the title.  Frank is hanging over the row of fair pennants mouth open above the T in tall as Harold strives to reach the top of the letter L.   Their friendship is further depicted by their happy postures on the verso and dedication pages.

Rendered in watercolor and pencil, then colored digitally the images match the pacing of the narrative.  A blend of single page visuals is followed by several smaller pictures grouped together and then there are double-page spreads.  One of them requires readers to rotate the book vertically as the pig proclaims the requirement each time.  As the team races toward the final outcome Weinberg uses only large visuals across both pages.

The expressions on the faces of Frank and Harold are sure to have readers smiling.  Frank's tongue is as demonstrative as his body.  All kinds of animals are enjoying the fair; a moose, shark and turtle ride the roller coaster on one of the interior images as two mice, a balloon-carrying turtle and an elephant stand in line. (The mice suffer the same fate as Harold.)  Frank's friendship toward Harold is continually noted by the curling of his body's around Harold in comfort.

One of my favorite illustrations of many is the first one.  Frank and Harold have just entered the fair.  They are standing beneath two strands of pennants.  In the background without the firm, bold, and blue outlines is the pink and brown landscape of a desert.  Harold and Frank are holding ice cream cones with the ends of their tails, although the scoop is falling from Frank's cone.  Their grins could not possibly be bigger.  A nearby cactus acts as a holder for three small white flags.


To reinforce the power of friendship, teamwork and the unforeseen twist a story can take You Must Be This Tall written and illustrated by Steven Weinberg is a splendid choice.  I am certain you will be reading it more than once at a sitting.  The subtle word play will be duly noted by the more sophisticated readers.  You'll want to find this title at your favorite book shop tomorrow on its release date.

To learn more about Steven Weinberg and his other work please take a moment to visit his website by following the link attached to his name.  At the publisher's website you can view several interior images.  When his first book was released author, reviewer and blogger Julie Danielson hosted Weinberg at Seven Impossible Things Before Breakfast.