Noticing Nature #2

Across the street is a large vacant lot.  On either side is a row of trees and shrubs.  To the west is an occupied home.  To the east are two unoccupied houses.  Behind them are rows of mature evergreens.  It is a forest in a neighborhood.  By chance, several days ago, I looked up from working at the kitchen sink out the windows at that vacant lot.  Gasping, I watched a fox in the middle of the day running from one side to the other.  Now, when out walking with my canine companion, she stops, sits and raises her nose sniffing as soon as we are near that wooded area.  She knows.

(And then just minutes ago, yes today, November 16, 2021, as we rounded that familiar corner close to our home on our walk, the crows were more vocal than normal.  Out of a row of trees on our left, the fox ran, stopped on a grassy area, crossed the road in front of us, and stopped on the lawn of a house on the right before disappearing into those woods. He was gorgeous, red and with lots of bright white on his tail.  I was trying to get my phone out of my pocket to get a picture, but also gaze at him at the same time.  Mulan, my dog, just stood silently and watched.)

Wild animals, regardless of where we live, are a part of our world.  Living with them is wondrous.  We never know when they will cross our paths or we will cross their paths.  We All Play kimetawanaw (Greystone Kids, Greystone Books Ltd, May 25, 2021) written and illustrated by Julie Flett explores the commonality and bond between animals and children.

Animals hide

and hop

and sniff

and sneak . . .

Rabbits, foxes, a turtle, and eight owls show a group of gals and guys how they play.  Next, we find ourselves in and near water.  Here whales, seals, and a mother Canada goose and her babies squirt, bend, and chase.  Nearby, children enjoy the same activities.

Back on land, snakes slither through grass.  Buffalos thunder across the plains.  Bears act like acrobats.  Snow has fallen.  Bundled in their winter wear, a hill provides the same possibilities for the girls and boys.

After a day of being constantly on the move, the animals start to slow.  They look for a space to be cozy and to cuddle.  Together, they rest.  Do the children snooze, too?

The words author Julie Flett has selected are like musical notes in a song.  Their alliteration envelopes readers, inviting us to participate.  With every page turn, the melody increases taking us through the seasons and days of play.  Three times with three different animals, we watch and listen as they play, then the same refrain, the title, ties the animals to the children.  It is here that the Cree language is used with the English.  Here is another portion of a passage.

Animals . . .

and wiggle

and wobble.

On either side of the spine, the grasses extend on the cream canvas.  As the children chase butterflies, the bobcat youngsters calmly watch on the front, right side.  You can, in your mind, hear the children laughing.  Their exuberance is contagious.  On the left, back of the dust jacket, two children are lying in the grass, feet to feet.  Their arms are raised.  A butterfly glides just out of reach.

An interior image of seals enjoying a swim is placed on the book case.  The background is the same rich cream color.  Bubbles rise from each of the three and along the bottom.

On the opening endpapers is the green used for the grasses.  On the closing endpapers is a rusty red of autumn leaves.  On the title page, the image from the front of the jacket is replicated.  Opposite this is the dedication page.  Here illustrator Julie Flett speaks of her father, Clarence Flett, Swampy Cree, Red River Metis (1936-2019).  

Rendered in pastel and pencil, composited digitally

these illustrations, each double-page image, depict joy in its purest form.  Animals appear and leave on page edges, left and right, top and bottom, breaking the frame.  Tiny details are tucked into visuals, Insects jump with the rabbits.  The geese walk among a patch of clover.  Beetles are busy as the buffalos rush past them.  Paw prints fashion a trail past the bobcats.

One of my many favorite illustrations accompanies the text above noted.  Here three bears enjoy an early snowfall.  Their warm brown bodies against the snow is a pleasing contrast.  On the left, one of the bears is on its back, feet curled up.  On the right, another bear is sliding down on its stomach toward the first bear.  A smaller bear is on the back of the sliding bear.  If they spoke our language, they might be saying

yippee!

Asking us to be aware, see, and respect what nature supplies us, We All Play written and illustrated by Julie Flett celebrates the antics in the animal world we mirror in the human world.  No matter how many times you read this book, the happiness will heighten your own happiness.  At the close of the book is a list of animals in English and in Cree.  This is followed by an explanation of the Cree 

used in this book.

There is also a Dear Reader note from Julie Flett.  I highly recommend this title for all your collections, personal and professional.

To learn more about Julie Flett and her other work, please follow the link attached to her name to access her website.  Julie Flett has accounts on Instagram and Twitter. Julie Flett was highlighted this past May on two websites, Art Of The Picture Book and Let's Talk Picture Books.  At the publisher's website is a guide for educators and parents and an audio pronunciation of the Cree words.  At School Library Journal, The Classroom Bookshelf, this title is featured with multiple resources and educational ideas.

We All Play by Julie Flett from Let's Talk Picture Books on Vimeo.

Color conveys and connects to us, as do light and shadow within those colors.  In her two previous phenomenal books, Green (March 27, 2012) and Blue (September 25, 2018), Laura Vaccaro Seeger presented colors to readers with fresh eyes.  She elevated our awareness of colors' effects on us.  In her new book, Red (Neal Porter Books, Holiday House, October 5, 2021), Laura Vaccaro Seeger tells of being lost and found, heartbreak and humanity.  It is about a fox.  It is about a girl.  It is about all of us.

dark red

light red

lost red

During a move at dusk, a young fox gets separated from its group.  It sleeps, awaking and realizing it is lost.  It safely crosses a road by a railroad tracks during the dark of night.

While roaming, the fox notices a girl in the yard of her home.  She watches the fox watching her.  Continuing its explorations, the fox finds other signs of humans, eventually injuring itself on a rusty nail.

It seeks food and discovers other obstacles, some high.  The fox moves through the woods and into a field.  Readers will recognize the vehicle and a box from a previous scene.  Hungry, the animal is unaware of the danger ahead.

Human and animal clash.  Compassion and confidence blend in another animal and human encounter.  Steps by steps, previous settings are revisited until there is a flash of . . .

Each word placed before the title word by Laura Vaccaro Seeger reflects a time of day, an emotional feeling, a description of place, a foreshadowing, a physical characteristic, or homecoming.  At times every other word will rhyme.  Sometimes for emphasis words in succession will rhyme.  And those words, in turn, rhyme with an earlier word.  There is a bit of alliteration to enhance the cadence.  It is an ingenious working with words by Laura Vaccaro Seeger. 

When you first look at the swirl of red shades on the open and matching dust jacket and book case, the image extending from flap edge to flap edge, what do you see?  If you look closely above the raised title text on the front, right side, there is the head of a fox.  When you look at the entire jacket and case, you can see the whole body of the fox running.  Above and below this fox are other foxes.  What would it be like to see a group of them running together?

On the opening endpapers, which is also the title page, we are deep in a forest.  Tall trees, undergrowth, and patches of grass span page edge to page edge.  Through the tops of trees is a brilliant blue sky.  Three foxes briskly walk toward the right side beneath the title text.  On the left, behind them, another fox strides toward them.  With another page turn, the woods are darker.  We see the first die-cut leading us to the next double-page picture.  On the closing endpapers are words from the author illustrator, a dedication and the publication information, all on the left.  On the right side are three vertical panels, one green, one blue, and the third, red.  (I got goosebumps reading the author's note.)

Using acrylic paint on canvas

Laura Vaccaro Seeger takes us on an intense journey.  Through her artwork and the placement of die-cuts, it is a sensory experience, abundant in detail.  We are walking through darkened woodlands.  We are waking on a cliff overlooking an expanse of forest as the sun is partially shown on the horizon.  We are curious.  We are hurt.  We need food.  We need help.  And most of all, we need to find our way home.  

Between the final two-word phrases, Laura Vaccaro Seeger breaks from her double-page pictures.  On these two wordless picture pages, first on the left, are three panels.  There are two squares over a rectangle.  On the right side is a full-page picture.  Then, it is guaranteed you will sigh at the sight of the final two-page image with the last two words.

One of my many favorite pictures is for the two words, rose red.  At the base of the two-page visual, among the grass and roses, the fox, on the right, looks forward.  In front of the fox is a sturdy white fence, made of posts and a single row of rails.  The setting is framed on the left by oak leaves and acorns, and on the right by a blooming red and pink bush.  In the upper portion of the picture on the left, the girl is picking up a ball.  She and the fox look at each other.

As soon as you finish reading Red written and illustrated by Laura Vaccaro Seeger, you'll read it again and again.  Then you'll go to your bookshelves, or the nearest library to read the two previous books in the trilogy.  You might read all of them together more than once.  You certainly need a copy of this book for your professional and personal collections.

To discover more about Laura Vaccaro Seeger and her other work, please visit her website by following the link attached to her name. Laura Vaccaro Seeger has accounts on Facebook and Twitter.  At the publisher's website are an event kit with activities and an educator's guide with discussion questions.  At Penguin Random House you can view the first double-page picture, the title page.  This book and her other work is discussed with Laura Vaccaro Seeger at Publishers Weekly, Let's Talk Picture Books and Critter Lit.

As we get older, we see the world with a wider and deeper perspective.  For many adults, but not all adults, it is clouded by past events and life experiences.  What we need to retain is the constant curiosity and bliss we had as children in investigating the world outside our homes.  Dear Little One (A Paula Wiseman Book, Simon & Schuster Books for Young Readers, November 2, 2021) written by Nina Laden with illustrations by Melissa Castrillon is a love letter to our natural surroundings and all the minute marvels they hold.

Dear Little One

Your time on

Earth has just

begun. 

A small child and their dog walk along the shoreline, peer into the water, and touch its surface.  The child is encouraged, as they walk into the woods, away from their home, to look, listen, and inhale.  They are asked to appreciate the flowers, bees, and trees.

Insects abound in sheltered nooks and crannies.  It only takes a minute to seek them out and observe their work.  Plants, from seeds to stalk, reveal secrets.

Speaking of secrets, what can you find by digging through the dirt?  There might be treasure, natural or human.  As the child and her canine companion walk through the woods, they need to remember their purpose in keeping our planet alive.  Each animal found along the way is part of a vital unseen web.

It is important to remember to venture farther than our home.  We must develop a respect for large bodies of water, sand, and tall mountains.  Wind, calm or wild, rain, snow, and the sun each are essential.  Be sure to gaze at the stars and have their endless expanse embrace you.  You are a caretaker of this Earth, now and always.  

You know from reading the first word Nina Laden is addressing someone with, at the very least, respect.  As the narrative continues, you realize, through her lyrical rhyming text, the speaker is building a loving relationship with the child.  They ask the child to be aware, to be grateful, and to be responsible.  Sentence by sentence we get a sense of building toward something extraordinary.  The final three words are our answer.  Here is a passage.

Hike in the forests.

They make the world green.

Their leaves act like lungs

to keep the air clean.

Two lavishly framed and illustrated scenes greet readers on the back, left, and front, right, of the open dust jacket.  The exotic plant life, flowers and leaves, twine around a three-lined gold foil border on the front and a golden yellow border on the back.  The child, on the front, is already heeding the advice of the speaker in looking at the beetle.  Other insects and small creatures are curious about her.  How many more can you see?

On the back, the child and their dog are perched on a branch.  It is placed near the top of the image.  They are looking at something to their right.  Beneath them are ferns, flowers, and a single bee.  

The book case is done in several hues of deep green.  There are less elements in the scenes on the back, left, and the front, right.  The child is only shown on the front.  There is more gold foil in addition to the borders.  Both the jacket and case are stunning.

On the opening and closing endpapers is a fan pattern with evergreen trees, tree branches, birds and leaves.  It is done in green and cream.  The child with a backpack is standing in a corner with their dog, ready to explore.  With a page turn, we see bees in cream on green on the left.  On the right, the child is smelling a flower as their dog runs behind them.  The child is wearing a red jacket and yellow pants.  The dedication, publication information and title pages are a two-page picture.  A close-up of leaves and flowers surround the text.  There are a few small critters.

Each of the two-page pictures, full-page pictures and smaller pictures grouped on a single page

were rendered in pencil and then colored digitally

by Melissa Castrillon.  The delicate lines and intricate details welcome closer inspection.  The invitations found in the text are enhanced by the artwork.  The breathtaking color choices amplify the enchanting images.  Shifting perspectives make us a part of the adventure.

One of my many favorite illustrations is a double-page picture at night.  A portion of the moon hangs low in the sky in the upper left-hand corner.  Evergreens bend in from the left and right sides.  The sky is peppered with stars, some of them shooting comet-like tails.  On a small hill in the center is a tent.  Close, but not too close, a small fire burns.  Next to it is the child and their dog.  They have a new friend, either a coyote or fox, joining them.  All of them are looking to the stars.  An owl dozes in one of the trees.  The colors are cream, purple, and green, with the exception being the child's clothing and the orange red of the tent and fire.

In a word, this book, Dear Little One written by Nina Laden with illustrations by Melissa Castrillon, is splendid.  The heart-warming letter paired with the striking artwork makes this a book to treasure and share often.  Your personal and professional collections will not be complete without a copy of this title.

By following the link attached to their names, you can learn more about Nina Laden and Melissa Castrillon and their other work at their websites.  Nina Laden has accounts on Facebook and Instagram.  Melissa Castrillon has accounts on Instagram and Twitter.  At the publisher's website, you can view interior images including the open dust jacket and book case.

A Double Dose Of Laughter

Regardless of your age, laughter can lift you up.  It can take an upside-down day, turning it right side up.  If you can share this laughter, the happiness it creates escalates.  Presently, it's a bit difficult to spread this form of joy with anyone other than those with whom you are sheltering or virtually, BUT . . .

When you think of authors and illustrators who make books filled with playful plots and comical characters, let us imagine they are there with us when we open the covers of their books.  As we laugh at their stories, it is as if they are laughing with us.  With this way of thinking, laughter is always shared.  Two April releases, graphic novels for younger readers (and readers young at heart), are welcome bursts of friendship and fun.

In the first title, Baloney And Friends (Disney Hyperion, April 14, 2020) written and illustrated by Greg Pizzoli, a crew of companions exhibit distinctive personalities.  It's their differences that make them dynamic.  None of them are without imperfections but together they form a flawless friendship.

A one-page full-color graphic in horizontal panels informs readers they will be enjoying a Get Started introduction, three stories and three two-page mini-comics.

Baloney + Friends
Get Started
(An Introduction Of Sorts)
Hello!
I'm Baloney!
This is my book.
All about me!
And me, too!
Oh. Hi, Peanut.

In this back-and-forth conversational exchange, we meet Baloney, Peanut, a blue horse, Bizz, a black, white, and yellow bee, and Krabbit, a cranky purple rabbit.  Baloney tries over and over to present his book and friends to readers, but he is constantly interrupted.  When it finally appears as though he can proceed without delays, Peanut is missing.  When you have to go, you have to go. (a bathroom break)

In the first story Baloney's magic show and trio of tricks are loaded with misconceptions.  What Baloney predicts does happen, but certainly not by magic.  His friends' responses are varied.  These in contrast to Baloney's actions are comedy gold.

Avoiding what you fear and overcoming that fear is addressed with candor and humor in the second narrative.  In musings Baloney reveals his hesitancy. In chatting with his friends, they become aware of his concerns.  It's Bizz's questions and then understanding which propel Baloney to be his best self with victorious though hilarious results.

To close this trio of tales Baloney and Peanut have a heart to heart chat about those things which make you feel sad.  An effort to lighten Baloney's mood only serves to display the depth of his despair.  As this is acknowledged, Baloney steps forward as true friends do.  Heart to heart is an art best buddies learn together.

In between the three stories the mini-comics range in their focus.  We are present during an arcade duel for player dominance, a rare peek at a hungry hero's craving for cookies and a closing championing the power of good stories.  Endings are the best beginnings.


By giving voice to these four characters, Greg Pizzoli illuminates those qualities which make each individual unique.  It is their singularity which endears them to us.  In them readers will see their strengths and weaknesses.  In these three stories and three mini-comics, Greg Pizzoli, through his written words, allows us to understand the benefit of embracing the complete individual, even if they are a work in progress.  (I'm looking at you, Krabbit.)  Although, to be fair, Krabbit elevates the laughter factor.  Here is a passage of dialogue.

Come and see the marvelous . . .
the masterful . . .
the magical . . .
The One And Only
Baloney!

Gasp!
A magic show! (Peanut)

Oh fun!  (Bizz)

Whatever . . .  (Krabbit)


As soon as you see the front of the book case, you'll start to fall in love with these happy-go-lucky friends.  Well, there is a scowl on Krabbit's face, but that's pure Krabbit.  The wide eyes, in the case of this book, are the secret to the soul of these characters.  They want us to be a part of their story.  The title text, Greg Pizzoli's name, the characters and the silver starburst are varnished.

To the left, on the back of the book case, the foursome is featured in four squares inside a larger square.  Above and below them is text you might see on the flaps of a dust jacket.  There are also glowing endorsements from two other admired author illustrator voices in the children's literature community, Ben Clanton and Laurie Keller.  Several elements here are varnished as well.

In a pattern of darker orange on lighter orange is a series of drawings of the fabulous four in a variety of positions.  Every so often the words:

Baloney
And Friends

are placed within the sketches. After this, prior to the title page, is a circle with the four friends and their names fashion a circular frame.  The title page is designed with a photograph of the pals.

Greg Pizzoli's panels shift in size to emphasize pacing and drama.  The color of the framing around the panels changes from white, to pale orange, purple, green, blue, black, royal blue, and red.  Sometimes the panels are outlined in a thin black line; other times the edges are scalloped or the image bleeds edge to edge.  Several times the characters appear outside a panel to designate their position with respect to each other or in reference to a memory.

Readers will recognize the masterful ability of Greg Pizzoli to create a range of emotions through his lines.  His facial expressions leave no doubt as to what his characters are feeling.  This is how we connect easily with the personalities.  This is why we love to laugh at their stories.

One of my many, many favorite illustrations is on a single page.  Baloney is on stage dancing in his black pants, black bow tie and black top hat and holding his magic wand.  He is throwing a glass previously filled with ice cubes in the air.  They magically (with the use of a heater and hair dryer) turned to water.  In front of the stage Peanut is clapping and saying

Amazing!

Bizz utters disgustedly

Oh, come on!

And Krabbit, as you might expect says:

That's
NOT
magic!

Their faces tell the whole story.


This book, Baloney And Friends written and illustrated by Greg Pizzoli, is a first-class graphic novel everyone will want to have on their personal and professional bookshelves.  Regardless of the number of times you read it, you'll find yourself either laughing or sighing more than once.  Greg Pizzoli makes books you want to hold next to your heart. At the close of the book four pages are dedicated to teaching you how to draw these characters.

To learn more about Greg Pizzoli and his other wonderful work, please follow the link attached to his name to access his website. Greg Pizzoli has accounts on Instagram and Twitter.  Greg Pizzoli has a YouTube channel.




In the first book in a new series readers get to meet two lovable animated animal creatures plus two of their friends.  Fox & Rabbit (Amulet Books, an imprint of Abrams, April 21, 2020) written by Beth Ferry with illustrations by Gergely Dudas is a gathering of adventures, one connected to the other, by friendship, fun and the letter F.  Each of the five stories is titled with three alliterative words.  The three words are a welcome to readers to participate.

STORY ONE
FAIR, 
FIREWORKS 
& FRED

 I see a whale.
Me too.
I see a
carrot.
Me too.
Now I see a
crab.
Me too.

I just made that up.
I didn't really see a crab.
Stop copying me.

I wasn't copying you.  I was
just being nice.

Humph.

In this first verbal exchange as Fox and Rabbit are lying on their backs gazing at clouds, we get an early glimpse into their personalities.  This duo sees and smells cotton candy which leads them to a fair. Immediately Rabbit wants to ride the Ferris wheel, but Fox is not excited.  Rabbit says he will win Fox a stuffed toy to hold when he rides the Ferris wheel.  Guess who wins all three games?  Guess who wins a stuffed toy lion?  Guess who ends up holding the stuffed toy lion when they finally ride the Ferris wheel at night?  Fireworks lead to a new name.  Rabbit still has to satisfy a yearning.  The result leads us into story two, but not without even more laughter at the expense of the late arrival of a turtle.

The next day, story two unfolds with an eager Fox ready for a day at the beach.  At every stage of this tale, Rabbit over prepares.  Fox presents the only thing necessary, a single item beginning with the letter F.  Rabbit stalls all day long about going in the water.  For every reason Rabbit supplies to not going in, Fox counters.  Rabbit eventually decides he loves the beach (and the water) a lot, so they stay for the sunset.  A gift floats to them in a bottle on the darkened water. 

The next day after weighing the pros and cons of their next trek into the unknown, Rabbit loads up a backpack and Fox carries a single item, a flashlight.  They have three geographic challenges with weather and fauna adding to the mix.  As they reach their goal, it's not what they expected but they learn some surprises are right in front of us all the time.

Sparrow, an already accepted foodie, steps in to assist Fox and Rabbit in their next endeavor.  As a guide Sparrow is the best.  Fox and Rabbit work harder than they thought possible all day.  Then there are days and days of watering and waiting.  When they see the outcome of their labors they are overjoyed until disaster strikes.  Forgiveness starts with the letter F and it's the foundation of friendship.

At the close of this first book of heartwarming discussions and feats, the charming companions watch a startling discovery grow.  From this a construction project and hours of time in the kitchen equal a backyard business.  Just when it looks as though this is a zinger, Sparrow turns it into a pleasant surprise.  As usual Turtle arrives at the end and the final line is the bow on this perfect present for readers.


As you read these five stories you can't help but think of all the fabulous fun (two letter Fs) Beth Ferry had finding words beginning with the letter F.  You can't help but wonder at the joy she felt creating the conversations between Fox and Rabbit.  Their banter is a linguistic delight.  They counter and contrast each other.  They question and answer each other.  They bring out the best in each other.

To tie the stories together, Beth Ferry frequently uses a phrase such as

Are you sure?
Sure as sunshine . . .
Sure as sand . . .

and the appearance of Turtle heightens the hilarity of each episode.  To enhance the personalities of Fox and Rabbit a cadence is established with repeating words and instances in their dialogue.  This is the glue that adheres and deepens their affection.  Here is one wonderful conversation of many.  Fox is speaking for most of the page.

Hurry up!
What's taking
so long?
The sun will be
setting soon.
Do you want to
pack the
toilet too?
Fred is getting 
antsy.
Ta-da!
I'm ready!
You're not bringing 
anything?
Oh, yeah.
Because flip-flops start
with F.


When you open the book case, on the right you can sense the total bliss Fox and Rabbit are feeling in the moment of being together in a field of dandelions.  This moment is extended in the image that begins on the spine and spans across the back.  In this picture the pale blue sky is filled with floating dandelion fluff.  Rabbit and Fox with Fred, the toy stuffed lion, on the ground are looking up as they stand in the same dandelion field.  Above them text like you might read on the front flap of a dust jacket is placed.  The characters, the title text and some elements on the back are varnished.

The opening and closing endpapers are pale blue.  For the initial title page dandelion fluff drifts on the same blue.  For the formal title page, the picture on the front is expanded, spreading over two pages.

Illustrator Gergely Dudas rendered these images

with graphite and ink and colored digitally.

Opposite each chapter page on the right, Fox and Rabbit are placed in a circle introducing readers to their following escapade.  Gergely Dudas places a series of small images on full-page pictures, places a series of panels on a single page, supplies wonder with full page pictures and generates his interpretation of the narrative with several series of wordless panels.  Most of the images are loosely bordered with a fine black line.

Readers will be fascinated with the combination of body postures and facial features on Fox, Rabbit, Turtle and Sparrow.  They convey a range of emotions.  The pacing is impeccable.  The humor is rich and true. 

One of my many, many favorite illustrations is when Fox and Rabbit are at the beach.  In a series of eight small square panels placed as two columns on a larger area of sand on most of the page beginning on the left, we are privy to a conversation and three wordless pictures at the end.

The conversation begins with Rabbit as Fox goes swimming again:

I'm going to dig for
treasure.  This was
probably
a pirate 
beach once.

Call me if you find
something good!

And by good I
mean gold!

Or silver.

Or gummy worms.

As Rabbit digs with Fred watching next to the hole, we see less of his body until only his ears are above ground.  Then on the far right is a cutaway of that beach area.  Rabbit is way, way down.  He must have dug for a considerable amount of time.  This picture leads into another comedic conversation when Fox returns from a swim.


Between the chatting of these two friends, Sparrow and Turtle, readers know they've met the best kind of individuals.  Fox & Rabbit written by Beth Ferry with illustrations by Gergely Dudas is a book, whether placed on your personal or professional bookshelves, that will have the well-loved look in short order.  We readers are fortunate another title is set to be released this year. 

To learn more about Beth Ferry and Gergely Dudas and their other work, please follow the links attached to their names to access their websites.  Beth Ferry has accounts on Instagram and Twitter.  Gergely Dudas has accounts on Facebook, Instagram and Twitter.  At the publisher's website you can view interior images.  The cover reveal for this book is hosted by Dylan Teut,  executive director of the Plum Creek Children's Literacy Festival at Mile High Reading.  Dylan Teut interviews Beth Ferry.  Betsy Bird, Collection Development Manager of the Evanston Public Library system, at School Library Journal, A Fuse #8 Production, interviews Beth Ferry about this book.

A Miscalculation

One day in the middle of August my canine companion refused to go out in the backyard in broad daylight.  Inside she paced and would not rest.  A quick conversation with a nearby neighbor confirmed their dog was pacing and barking.  This lasted for two hours. A call to the Department of Natural Resources revealed the distinct possibility of a browsing bear.  A wildlife biologist sent pamphlets and they were distributed.  Did neighbors take down their bird feeders?  Did the neighbors who leave their garbage carts out 24/7 put them in their garages?

A few weeks later when walking with my dog, a bear cub crossed the road about a half a block in front of us.  I did not say a word to anyone, certain in my mind no one would believe me.  Today I received a call from another neighbor, who knows I walk a lot each day, warning me of spotting a bear cub in the same vicinity.  Another call to the DNR resulted in receiving explicit instructions to remove bird feeders and garbage carts.  After a door to door canvas, we will see how people respond.

The truth is hungry animals in the wild, already encroached upon by an increasing population of humans, will seek the readiest food supply.  They have a keen sense of smell.  They have remarkable memories.  And they are clever.  This is how they survive.  One Fox: A Counting Book Thriller (Peachtree Publishing Company Inc., October 1, 2019) written and illustrated by Kate Read is about a wily predator who, as the suspense builds, gravely misjudges his prey.  This is how they survive.

1
One
famished
fox

One number at a time this cunning stalker moves closer to its meal.  In its sights are three chickens intent on devouring three juicy worms.  They are oblivious to the lurking danger.

The fox moves with stealth one paw at a time.  The now roosting hens snooze.  Nestled near them are more than four eggs but less than six.

The moon is high in a black nighttime sky.  The fox is right outside the chicken coop.  He's ready to make his move but first politeness takes precedence.

TAP! TAP! TAP! TAP! TAP! TAP! TAP!

Inside the henhouse it's darker than beneath the black nighttime sky except for the whites of four sets of eyes.  YIKES!  A frantic fracas ensues.  What has happened to the three hens?  More importantly, readers, you should be wondering about the

1
One
famished
fox.


Every suspenseful moment is presented in three word phrases except for a pause and the stunning surprise by author Kate Read in her debut picture book.  The use of alliteration and rhyming words astutely fashion a gentle beat.  By meticulous blending of story and counting readers, the intended audience and others, will be engaged and participating in the tale.


On the open and matching dust jacket and book case the fox is displayed in all its sly glory.  The folds in its fur, the direction of its ears, the eye looking at readers, the slight lines for its mouth and whiskers give us an up-close and personal view.  The title text takes its color from the fox's fur.  To the left, on the back, continuing with the same background, and in the center of the page, the fox's tail is flipped up in a curve with its white tip pointing to the left.  The text reads:

A gripping farmyard tale and fantastic
counting book for early learners

On the jacket the fox and the words One Fox are varnished.

On the opening endpapers is a pattern of colorful single paw prints.  Shades of red, blue, green and yellow and blends of these hues cover the pages except for one small portion.  In this the fox is tucked.  It's walking, smiling and looking behind it.  On the closing endpapers is an equally vivid array of sleeping hens set in diagonal rows.  Across the white verso (dedication and publication text) and title pages are twelve paw prints in various shades.

The illustrations by Kate Read are rendered

as mixed media with collage and painting.

The first illustration on a crisp white canvas is of the fox curled as if resting and opposite the words on the left.  It is next featured on the left, much closer to readers, looking ready to pounce or pursue.  All we see is its head, a small bit of its back and two front paws.  The text for this picture is on the right page.

When the number four is shown, the darkness is falling.  In this illustration Kate Read shifts her perspective.  The text is in a large horizontal column at the bottom of the page.  Along the top we see four paws and a tail moving in front of a shadowy chicken wire fence.  Now the crisp white background is replaced with black until a pause and pacing dictates change.  Hilarity follows on a page covered in chicken feet prints in many hues with the words

No hens or foxes were harmed
in the making of this book.

One of my many favorite illustrations is when the fox has its head in the henhouse.  It is a double-page picture (Nearly all of them are double-page pictures.) There are various shades of black to denote the straw, hens, the inside walls of the henhouse and the fox.  The number 8 is in red.  The text
is in white to match two sets of frightened eyes looking right at readers, one set of horrified eyes looking at the fox and another set of eyes fiercely looking at the chickens.  There is also a row of sharp white teeth.  This is when readers will probably gasp out loud.


As a read aloud, One Fox: A Counting Book Thriller written and illustrated by Kate Read, is a treasure.  With the right voice and pacing, the words and images will move off the page into the storytelling circle wrapping around listeners whether it's one-on-one or with a group.  I highly recommend this title for your personal and professional collections.

To discover more about Kate Read and her other work, please follow the link attached to her name to access her website.  Kate Read has accounts on Facebook, Instagram, Pinterest and Twitter.  At the publisher's website is an excerpt and an activity kit.  The book trailer is revealed at educator Alyson Beecher's site Kid Lit Frenzy

Facing Frightful

Whether you are gathered in a classroom, a library, around a campfire, or wrapped in sleeping bags or blankets for a sleepover, one of the most memorable and satisfying activities is storytelling.  Most will agree scary stories, those tales crammed with creepiness, the unexpected and bone-chilling probabilities, are the most requested.  Listeners (and tellers) can venture into circumstances too terrifying to experience themselves and are brought back to safety at the story's end.  With each scary story heard (or told), courage grows.

The most frightening stories are those steeped in reality.  Scary Stories for Young Foxes (Henry Holt and Company, July 30, 2019) written by Christian McKay Heidicker with art by Junyi Wu recounts the horrors of truth with stunning authenticity.  Readers will alternately be riveted or unnerved by the words they read.

THE HAUNTED SEASON had arrived in the Antler Wood.
The sky grayed, the leaves blushed red, and mist
coiled through the trees like something alive.  Even
the pumpkins began to rot and show their true
faces. 

Seven kits are begging their mother for a scary story.  Each of her suggestions is met with a groan.  Nothing is scary enough.  As she settles in for the night, she warns them not to go to Bog Cavern.  An old storyteller lives there.  The tales she tells are too grim to be repeated.

The seven, of course, leave the safety of their den after their mother falls asleep, making their way through the darkening woods to Bog Cavern.  At first the storyteller, an ancient fox, says they are too young for these tales. She warns them of scary stories having two sides, light and dark.  One can guide you and the other can consume you.  There are eight stories to tell.  How many of the kits will be brave enough to remain to hear the final tale?

The seven listening kits are first introduced to Mia, her mother, her four siblings and their teacher Miss Vix.  A fatal turn of events has Mia and her mother running for their lives out of Eavey Wood, pursued by those who wish to devour them.  In the pause before the next tale begins, questions are asked and the shadowy voice from the dark entrance cautions them to be patient.

Six listening young foxes meet Uly, a young male kit with a deformed front paw.  He lives in Boulder Fields with six cruel sisters and a caring mother.  Uly is unable to care for himself without his mother's assistance. An unexpected visitor named Mr. Scratch forces Uly to make choices he would rather not make.  There are now five kits, listening intently.

In the next tale Mia and her mother suffer hideous, skin-crawling, encounters with a human guaranteed to leave readers stunned and wondering if they will ever read certain classic books again.  We are not even sure Mia is alive before four kits are leaning in to hear about Uly, at the edge of a foreboding forest trying to find food.  In seeking something to eat, Uly comes upon something he has never seen.  Fortunately, he saves Mia from certain death.

In the final four stories Mia and Uly truly struggle to stay alive, suffering the stuff of nightmares for foxes (and humans).  At times the evil and forces of nature are truly overwhelming, but the needs of others are a powerful motivator.  Soon there are three little foxes, then two and finally as the night moves toward dawn, only the youngest remains listening to the storyteller.  She, like readers, is torn between abject, gasping fear and the absorbing need to know what happens to Mia and Uly.  We like the young foxes and finally, the youngest, are told not all kits survive.  Is the end of a tale really the end?


First you have to know, there is hardly a second for you to recover from one harrowing incident to the next.  Thankfully, author Christian McKay Heidicker has two to six pages between the tales for conversations between the listening kits and the storyteller.  These do serve to provide momentary relief but also heighten the anxiety before the next portion begins.  In these pauses the atmosphere, the setting at Bog Cavern, is continually enhanced for readers.

Without a doubt, readers will enter the world of Mia and Uly completely.  The settings and circumstances in which they find themselves are depicted vividly.  We are emotionally tied to every experience.  Here are some of the earlier passages I marked.  (After this, I could not stop reading for a single moment until I read the last word.)

Yes, it may have been wise for fox kits to stay close to the den once the leaves began to fall.  But the fog and the frost and the old crimson moon had stirred something in their whiskers.

"But," the storyteller said, "if you don't listen closely . . . if you turn tail from the horror and don't stay till the end, then the darkness of the story can swallow all hope.  It can frighten you so deeply you'll never want to leave your den again. . . ."

Her mom slipped through the wind-woven vines, and Mia followed, nosing through the tangle until the leaves came to an abrupt end and the world opened like a gasp.  The sky beamed upon an emerald meadow.  A soft wind blew pale stripes across the grass, sweeping as far as Mia's eyes could see.


Scary Stories for Young Foxes written by Christian McKay Heidicker with art by Junyi Wu elevates the meaning of scary story to a whole new level.  With a striking use of language complemented by black and white drawings, readers will be too spooked to stop reading.  At the beginning of each tale is a full-page image relative to the story and a single smaller illustration is placed within each tale.  One stunning design tecnique is when we are in the present rather than the tales, the pages turn black with white text and small sticks act as framing.  You'll want to have this title for your personal and professional collections but beware . . .truthfully, beware.  (This post is written using an advanced reader's edition.)

To discover more about Christian McKay Heidicker and Junyi Wu and their other work, please follow the links attached to their names to access their respective websites.  Christian McKay Heidicker maintains accounts on Facebook and Twitter.  I think you be appropriately chilled by the book trailer as seen at Romper.  You can read an excerpt from this title at the publisher's website.

Countdown To 2019 #5 Snow

Winter is in full swing in northern Michigan.  Prior to Christmas five inches of freshly-fallen snow coated our landscape.  Although currently switching between rain, snow and freezing rain, by tomorrow night there's supposed to be a temperature drop into the teens.  Waking up each morning in this season is full of surprises.

Winter and snow are heartily embraced by some and utterly avoided by others, humans and animals alike.  Good Morning, Snowplow! (Arthur A. Levine Books, an imprint of Scholastic Inc., October 30, 2018) written by Deborah Bruss with art by Lou Fancher and Steve Johnson depicts a dedicated man and his canine companion hard at work while the rest of the community nestles in for the night.  The duo work their magic in the middle of a storm. 

Good night, homes, and good night, cars.
Clouds move in to hide the stars.

Seeing the snow start to fall, the man and his dog take the snowplow to get ready for its job.  As the snow gets deeper and deeper, they push through the city streets moving snow and dropping sand and salt.  All through the night they work, sometimes listening to the radio and singing to a tune.

A car driving without regard for the weather is towed.  The plow keeps going.  A sound and a sight caution the driver.  The snowplow stops.  A train creating billows of snow, chugs past the crossing and down the track.  After hours and hours morning light begins to shine.  It's a snow day!  It's time for partners in plowing to rest.


The rhythmic writing of Deborah Bruss rings with realism and warmth.  Every aspect of the man and the snowplow's labor during the storm from dusk to dawn is beautifully represented with four-line stanzas. The first two lines and second two lines ending with words that rhyme.  It's a lovely flawless flow.  Here is a stanza.

Waves of white curl off the blade.
In its wake, a trail is laid.
How's the road?  A little slick?
Salt and sand mix does the trick.


The artwork of Lou Fancher and Steve Johnson rendered using acrylic paint, colored pencil, pen, and collage is first given to readers on the splendiferous front and back of the open dust jacket.  The solitary aspect of the driver and his dog using the snowplow brings us into an important moment.  Certain elements are varnished, snowflakes, the windshield, snowdrifts and text.  The title text is raised to the touch.

To the left on the back as the morning begins, we see children sledding, and building snowmen.  Homes are in the background and along the lower left-hand corner is the plowed roadway.  On the book case we see the plowed roadway extending from the back (left) to the front (right) with the snowplow, lights glowing out in front, driving off the upper right-hand corner.  A royal purple covers the opening and closing endpapers.

Each two-page image is a stunning depiction, a pictorial interpretation and extension of the author's words.  The illustrators alter their perspective to bring readers into the story.  It's a rewarding participatory experience.

One of my many favorite illustrations is a close-up of inside the cab of the snowplow.  The man is holding the steering wheel with both hands.  His dog is next to his right side.  Both are staring intently through the windshield as the snow swirls outside.


This title, Good Morning, Snowplow! written by Deborah Bruss with art by Lou Fancher and Steve Johnson, is a perfect book for one on one reading or during a snow/winter theme for story time.  At the publisher's website are extra materials to use with the book. You can also get some information about the illustrators here.  Deborah's website is linked to her name.  Deborah Bruss and Lou Fancher are interviewed by author Deborah Kalb about this title.  Author, reviewer and blogger Julie Danielson talks about this title on her blog, Seven Impossible Things Before Breakfast.  Interior images are included.  Arthur A. Levine chats about the title in the video below.




In their fourth title together (Goodnight Already!, I Love You Already!, and Come Home Already!) Duck and Bear are still at odds.  Their wants and desires never seem to coincide, thus supplying readers with non-stop laughter.  In All Right Already! A Snowy Story (Harper, an imprint of HarperCollinsPublishers, November 13, 2018) written by Jory John with illustrations by Benji Davies, the duo tackle whether playing in the snow is a good thing or a horrible idea.

"Ah, another magnificent day.  I love my morning routine."

Looking out his window Duck discovers everything is coated in white.  It has snowed . . . a lot.  Duck can hardly wait to tell Bear.

Duck interrupts Bear taking his bath.  There is no way Bear is going outside.  It's too cold.  It's too bright.  For every idea purposed by Duck, Bear replies in the negative.

Duck finally convinces Bear to make snow angels.  Duck is not satisfied and wants to have a snowball fight, but Bear is cold and . . . ACHOO!  Bear is sick.

For every cure mentioned by Duck, Bear says no.  Finally Bear agrees to let Duck help him get well.  (With Duck, that's a mistake.) Duck just keeps asking and Bear is too sick to argue.  Not able to stand another second of Duck's chatter, Bear orders him home.  In a hilarious twist Duck needs care from Bear.  Bear issues his signature statement

I must get some new neighbors.

It's the contrast generated by the conversations between Duck and Bear by Jory John which consistently connect with readers.  With dialogue telling the entire story we can readily identify with both characters.  It's like watching a ping-pong ball tournament with hilarity as the main event.  Here is an exchange between the two characters.

"Do you want to play freeze tag?"
"No."
"Build a fort?"
"No."
"Make a snowbear?"
"No."
"Sled over here?"
"No."
"Sled over there?"
"No."
"Play freeze tag?"
"You already
said that."


One look at the open dust jacket will have readers giggling and grinning.  You know Duck has finagled Bear into a situation in which he has no desire to participate.  And why is his yellow rubber ducky present?  To the left, on the back, Duck and Bear are racing down a hill on a toboggan.  Bear is wearing his shower cap and his towel has flown off the back.  Duck looks sporty in his red hat and scarf.  Everything but the blue background is varnished.

On the book case an intricate diamond and square pattern in varying shades of blue covers the front and back.  To the left on the back Duck is balancing a huge snowball, ready to throw.  On the front, right, Bear is sitting in the snow, wearing a hat and scarf.  The opening and closing endpapers are a rusty red.

Benji Davies begins the story, visually, with Duck snuggled in bed on the title page under the text.  On the verso and dedication pages we are shown both houses at night with the snow falling in earnest.  A candle glows in Duck's window.  With each page turn the canvas changes from yellow to orange, winter blue in various hues, pink, red and white.  The illustration sizes differ from double-page pictures to full-page visuals and a group of images sharing a page.  Some of the illustrations are framed in white and others span page edge to page edge.

One of my favorite illustrations spans two pages.  Bear is in the middle of a huge sneeze.  His cap has blown off.  He is standing in his towel only.  The force of the sneeze has Duck off his feet, scarf trailing behind him.  Snow is scattered with the breeze of breath.  To the left of Bear, who is on the left, is the edge of his house.  A giant drift of snow is about ready to fall off the roof.  Anticipation builds as readers get ready to turn the page.

Whether you are acquainted with Duck and Bear or not, you will find yourself smiling from beginning to end of All Right Already! A Snowy Story written by Jory John with illustrations by Benji Davies.  This is a great title for a theme on winter/snow or a group of humorous books.  It would be wonderful with a bear theme unit.  There is a chat with Jory John at Brightly. There are links to both the author and illustrator websites attached to their names.



Instinctive behaviors found in nature do appear in domesticated relatives.  When walking in the deep snow, my canine companion will freeze.  Then she jumps, pounces and sticks her head as far into the snow as possible.  During these few seconds, it's as if I am watching a fox in action.

Little Fox In The Snow (Candlewick Press, November 13, 2018) written by Jonathan London with illustrations by Daniel Miyares is a journey in the life of a young red fox on a single day.  Through descriptive text and marvelous illustrations, we shadow this wondrous creature.  A season alters a lifestyle.

Little foxling, little fox,
asleep in your hole,
in your halo of warmth---
it's time to wake up!

Raising its nose into the air, the fox walks out into the wintry world.  The youngster is hungry.  It hears something under the snow.  Mouse in mouth, the fox knows this will not suffice.

Over fields blanketed in thick snow, the fox travels, a nearly empty belly as a motive.  A snowshoe hare grabs the fox's attention.  With practiced leaps it tries to get away.  The fox is faster.

With a full stomach and thirst quenched, the fox continues.  He catches what he believes is the scent of a vixen.  It is not!  Run fox run!  The hunter becomes the hunted.  Quickly, the fox flees to his hole.  As a crescent moon rises what are the dreams whirling in a sleeping fox's mind?


With a precise choice of words Jonathan London invites us to accompany this young red fox.  It's as if we are one with this beautiful being.  He depicts not only the actions of the fox but the other woodland animals he encounters; all within a setting in the wild.  The unseen narrator observes and questions.  A repetition of a key phrase ties moments together.  Here is a passage.

Little foxling, belly full,
you make your way down
   to the snow-patched stream,
lap tiny tongue-curls of icy cold water.


Upon opening the matching dust jacket and book case, readers are greeted with a gorgeous double-page image of a woodland in winter with the bright red fox striking a contrast in the snow.  Shades of dawn are breaking in the distance.  You can sense the silence except for the soft sound of paws on snow.

The opening and closing endpapers focus on a close-up of a snow-covered field.  Each is different reflecting the time of day and movement of the fox as he leaves (or not) a trail.  A turn to the verso and titles pages gives readers a breathtaking vista of the sky, forest, sunrise and snowy expanse at the bottom.

Each picture rendered by Daniel Miyares in ink and watercolor on paper heightens and extends the narrative.  All of them span two pages but the passage of time measured in mere seconds or minutes is sometimes shown from left to right.  The play of light and shadow is fabulous.

In one setting the fox's shadow, to his left, is huge.  It enriches the words but asks readers to spring toward a possible future.  Within some of the illustrations the point of view changes from one side to the other side; the fox in the distance and the snowshoe hare ready to leap toward us.  We are keenly aware of the time of day through the changing hues in the sky.

One of my many favorite illustrations is when the fox stops, leaps and dives into the snow to capture the mouse.  Daniel Miyares, from left to right, gives us four images of the fox in one picture.  Only the front of the fox leads in from the left.  He springs front paws up and back legs steady.  His entire body flies through the air and then near the right corner, head and upper body are buried in the snow.  Back, back legs and tail extend above the ground.  It's a highly animated and realistic portrait.

We become one with this young red fox through the blend of words and illustrations.  Little Fox In The Snow written by Jonathan London with illustrations by Daniel Miyares is an excellent collaboration.  This would be a stellar selection for a study of winter, animal behavior or foxes.  At Candlewick Press and Penguin Random House you can view interior illustrations. Please follow the links attached to the author and illustrator names to access their websites.  Jonathan London is interviewed at The Children's Book Council. Daniel Miyares has accounts on Twitter and Instagram.
Enjoy the book trailer.

It's Beginning To Look A Lot Like .. #4

They date back to the 16th century during the reign of Queen Elizabeth I.  She had a special baker to fashion men shaped like foreign dignitaries and people in her court. They were made of gingerbread.  Gingerbread men (and women) have become an important feature of Christmas food presentations.  They have also been a part of the folktale realm for more than 150 years.  To our delight tellers of stories have given readers and listeners numerous variations.

The one constant in most of the stories is the tasty treat is usually running as fast as they can.  Tough Cookie: A Christmas Story (Christy Ottaviano Books, Henry Holt and Company, September 11, 2018) written and illustrated by Edward Hemingway offers readers an appetizing twist.  A brand-new tradition is about to race into your repertoire of holiday tales.

Once upon a time, while Fox

was visiting Christmastown,

in the Land of Holiday Treats . . .

A cookie, fresh from the oven, ran to the bakery door and declared how delicious he was.  Fox could hardly wait to catch this little rascal and savor his sweetness.  The cookie taunted him 

Run, run, as fast as you can!

You can't catch me---

I'm the Sugar Cookie Man!

Fox was fast, faster than the cookie.  He reached out, grabbed him and bit that cookie's head.  YUCK!  He tasted horrible.  He was the worst sugar cookie Fox had ever tasted.

Well, let me tell you; cookie was mad on two accounts.  He had a bite mark on his head and no sugar cookie wants to be told they taste disgusting.  In addition, Fox told him he was so hard, he broke one of his teeth.  Cookie, Tough Cookie, burst into tears.

Fox decided to befriend the little guy attempting to help him be sweeter and faster.  A trip to Christmastown Spa, including a dip in scrumptious eggnog with other luscious choices, running in the Sweet Treat Christmas Race and building a gingerbread home in Cookie Cutter did nothing to improve Cookie's circumstances. He was more depressed than ever.  Always the optimist, Fox was sure something good would happen.  And it did!

Suddenly a chorus of voices pointed out the truth to Cookie and Fox.  How had they missed this tiny but important detail?  Now everything was tree-mendous for Cookie; toughness can be an asset for cookies and their foxy friends.

When Edward Hemingway begins with once upon a time you know you're in for a treat.  The words Christmastown and Land of Holiday Treats conjure marvelous visions.  The blend of crisp, descriptive dialogue and concise, natural narrative create a captivating flow.  Edward uses repetition and clever wordplay to cook up a storytelling cadence with ample seasonings of humor.  Here is a passage.

And that's when Cookie crumbled.

I'm not sweet.

I'm not fast.

I can't even make a

gingerbread house.

Everything I do 

is half-baked!  

It's impossible not to smile when looking at the matching, opened dust jacket and book case.  Wide-eyed Cookie and all his confection companions are grinning with happiness.  Even Fox is joining in the merriment.  On the front Edward Hemingway introduces us to the color palette used in this book.  Snow drifts gather on the title text or maybe it's frosting.  It's Christmastown, after all.

To the left, on the back, Cookie, featured in a circle of white on a pale mint green background, is running and chanting his familiar phrase.  The opening and closing endpapers are patterned in rows of rectangles in a variety of colors.  They are canvases for seventy-five treats (plus Christmas decorations and gifts) with one more for Fox who is leaning over and sipping one of those mouthwatering goodies.  Cookie is shining in the near center.  The eyes, positions of arms and legs and exquisite details in these portraits are wonderful.  

Rendered with oils on board sprinkled with Adobe Photoshop the illustrations throughout this title spanning double pages, single pages and partial pages contribute to stellar pacing.  The speech bubbles and narrative placement are pleasing.  The background elements with the previously mentioned intricate details present a setting readers will be eager to visit.  

One of my many favorite illustrations is the first double-page picture.  We are given a bird's-eye view of a crossroads in Christmastown.  The brick buildings are enchanting.  Peeking out of most of the windows are wide-eyed treats.  A bluebird (of happiness) sings above the Christmastown Bakery sign. The word bakery looks to be fashioned from bread; like the bread displayed in the window.  Bright candy-shaped lights hang along the roof edge.  Fox, standing in front of the bakery, is dreaming of sweet treats.  A candy cane is riding a bike down Sugar Street with a peppermint passenger.  A whip-cream topped drink, cupcake and candied apple are running down Spice Avenue.  A Santa Claus mural on a building faces Spice Avenue.  In the town square a decorated tree is glowing.  It's snowing. 

When you read the title text on the front of the jacket and case you wonder why a gingerbread man, front and center, is smiling.  Why would a tough cookie be smiling?  When you read Tough Cookie: A Christmas Story written and illustrated by Edward Hemingway you'll be smiling too.  It's entertaining from beginning to end.  It's gives us a fabulous new beginning and ending on a traditional tale.  It inspires us to keep seeking our rightful place in the scheme of things.  It also encourages us to start baking because we are craving sweet treats.  With that end in mind Edward includes two separate recipes at the close of the book.  I know you'll want to add this title to your personal and professional book collections.  

To learn more about Edward Hemingway and his other work, please follow the link attached to his name to access his website.  You can view interior images at Edward's site and at the publisher's website.  Edward maintains accounts on Twitter and Instagram.  You'll enjoy this article published about the book in the Bozeman Daily Chronicle.

The Attraction Of Opposities

Unexpected relationships can become the most lasting friendships.  It's as if the odds of two parties being companions strengthen their bond.  Their mismatched physical characteristics and clashing personalities provide a mutual attraction.  From day to day there is no sameness only surprise and endless variety.

There are authors and illustrators who bring to life enduring characters whose affectionate attachment is true as well as comical.  In his Bear and Bee (Disney Hyperion, March 12, 2013) Sergio Ruzzier presents readers with the results of misconceptions.  One of his newest titles,  Sergio Ruzzier's Fox + Chick The Party and Other Stories (Chronicle Books, April 17, 2018), a trio of tales, is certain to have you laughing out loud.

The Party
KNOCK
KNOCK

It's me Chick!

I know it's
you, Chick!
I can
see you!

In the short ensuing conversation Chick, with little effort, manages to irritate Fox to the point he slams the door in Chick's face.  Chick is persistent and knocks again.  With an oh-no-here-we-go-again look on his face Fox answers.  Chick asks to use the bathroom.

Like any normal being Fox believes Chick needs to use the bathroom for its intended purpose.  After more time than necessary, Fox investigates.  He is completely wrong in his assessment of Chick's needs.  Hilarity, like the water all over the bathroom floor, flows page after page.

In story two, meandering over to see Fox, Chick is curious as to why he is taking carrots, onions, potatoes and parsley from his garden.  He keeps pointing out the other food Fox should be eating like field mice, frogs or grasshoppers.  With frustration growing in both their demeanors, Fox finally asks Chick to name other things he should be eating.  Talking himself into a corner, Chick flees as Fox chuckles.  And yes, there is soup and a memorable humorous observation by Fox.

Hoping for peace and quiet and a chance to make art, Fox sets up his easel to paint a landscape in the third account.  Of course, Chick strolls up with his own suggestion of a subject matter to capture on the canvas.  Fox appears to agree with a single request,

sit still.

By now readers know Chick is not capable of sitting still. His inability to comply with Fox's desire not once but three times will have readers unable to keep from grinning and giggling.  The final exchange, two sentences, between Fox and Chick is full or wondrous promise.


The sense of humor displayed by Sergio Ruzzier within these pages is masterful.  He understands the contrasts to be found in what is said as opposed to what is meant and understood.  This comprehension is a gift to his readers.  Told entirely in dialogue and wordless images, these three stories build a subtle tension phrase by phrase leading to the inevitable and joyful conclusion.  Here is one conversation.

Fox, you can paint my portrait now.
Just sit still, please.

I am hungry.

You just ate three bowls of soup.

I will go and get a snack.  Then I will sit very still on that rock. 


No other artist selects shades of color as does Sergio Ruzzier.  These colors seen on the dust jacket (and throughout the book) are one of many reasons we enjoy his quirky settings and the elements in each of them.  His characters' faces, longer noses and smaller eyes and each carefully placed line, convey exactly what we need to know in even given situation.  The smiles on Fox and Chick on the front lead us to believe they are friends.  With Chick stating the obvious we are receiving a huge hint at the hilarity to come.

To the left, on the back, the duo is enjoying a moment together outside in a field.  A golden yellow and wide band of reddish-orange along the spine cover the book case.  In the lower right-hand corner Fox and Chick are featured.  Chick is riding on Fox's tail, much to his disgust.  The opening and closing endpapers are done in the pattern of tiles in Fox's kitchen.  There are tiny details added to the concluding endpapers.  On the title page, Fox on his back with his legs extended in the air, is balancing a laughing Chick on his feet.

Rendered in pen, ink and watercolor the illustrations for each of the three narrative chapter beginnings feature a more panoramic two-page picture.  These are followed by panels, sometimes two, three or four to a page.  Their shapes and sizes supply pacing and an inviting design. They are framed in a loose fine line or white space.  For emphasis we are treated to images spanning two pages at least one more time in each tale.

One of my many favorite illustrations is on a single page.  It's in the story titled Good Soup.  Chick has just realized what he has said.  An intertwined landscape of three rolling hills is backed by a forest on the left and two rocky outcroppings on the right.  Chick is running away up a path to the woods.  Fox is closest to us, carrying his basket of garden goodies.  His eyes are closed in a smile as he walks away.  Chick exclaims:

AHHHHH!


Handing this book, Sergio Ruzzier's Fox + Chick The Party and Other Stories, to readers (making sure it's on your professional and personal book shelves) is sure to add more joy to their day.  The humor is refined to perfection.  No matter how many times you read these tales, you will laugh.  It would seem there is a companion title on the way in 2019.  I can hardly wait.

To learn more about Sergio Ruzzier and his other work, please follow the link attached to his name to access his website.  You can view interior images from this book at his website too.  Sergio maintains an account on Twitter, Facebook and Instagram.  At the publisher's website a teacher's guide is supplied for your use.  Sergio visits author, reviewer and blogger Julie Danielson on her blog, Seven Impossible Things Before Breakfast to discuss this book.  He offers loads of process art and explanations.  

A Grandmother Is Gone

That we continue to explore our own folklore and the folklore of other cultures is essential.  Not only is it the foundation from which many other forms of literature builds but if we are to understand one another, we need to read and listen to these stories.  In these narratives we discover the richness cultures different from our own offer us.  We discover those things we have in common; those values which transcend those differences.

Most folklore has stories of animals exhibiting particular characteristics.  These animals can deter, challenge, help or inspire the efforts of humans in these tales.  Debut picture book author Julie Kim offers readers a look at characters well-known in Koren literature.  Where's Halmoni? (Little Bigfoot, an imprint of Sasquatch Books, October 3, 2017) takes us on a quest to find a beloved family member.

Halmoni~
We are here~

Sister and brother, Noona and Joon, have come to visit their grandmother. Noona is carrying a bag with groceries and Joon is wearing a backpack shaped like the head of a fox.  Halmoni, their grandmother, has disappeared.  So has her red bean soup.  All they can find are a trail of tracks.  When they look for her in her bedroom, Joon locates a slightly open door.

It leads to a vibrant landscape filled with mountains, tall trees, flowers and butterflies.  Readers see, before the siblings, an animal climbing down a rope ladder.  It's a rabbit with a red cloth bundle on its back.  Their inquiries about their grandmother are answered in Koren.  In exchange for some of the snacks Joon has in his backpack, the rabbit gives them a magical back scratcher.  They also believe they need to find a tiger.

When the duo rest in the forest, hungry and tired, they are startled by a group of dokkebi, friendly goblins.  More snacks and drinks are given in trade for an elaborate door handle with its own unique properties.  A glowing opening shows them another path.  Loud roaring has them rushing toward the sound.

A tiger and a nine-tailed white fox are arguing over an item the two identify as their grandmother's soup pot.  Joon runs to the rescue chewing on the tiger's tail.  Noona suggests a more peaceful method, a hearty game of rock-paper-scissors.  Of the four, two are quickly eliminated.  A triumphant winner is tricked but in a twist the trickster is tricked.  A tiger roars for more.  Will Noona and Joon ever get home?  And where is their grandmother?


Limited text in the form of dialogue between the characters written by Julie Kim sets this story in motion and introduces us to everyday customs and respect for family members.  When Noona and Joon encounter the rabbit, the goblins, the tiger and the fox we realize the cleverness of the siblings is no match for the animals.  Evidence of humor is provided in the items given to the children and in their comments to each other especially when they are with the goblins.  Here is a passage.

I think it's thirsty. (Noona)
Of course it is.  It ate ALL our cookies. (Joon)
I think it's REEAAALLY thirsty. (Noona)
And we ARE sitting on it.
Let's get OUT of here Noona, before we lose ALL our snacks!


Upon opening the sturdy paper cover (I am working with an F & G.) on the other side of the door, to the left on the back, Noona and Joon are peeking around the edge.  Their wide-eyed looks and open mouths tell a story as much as the sly look on the tiger's face on the front.  The firm, fluid lines and bright colors here are a wonderful indication of the images to follow.

On the title page the tiger is creeping through the opened doorway in Halmoni's bedroom.  On the verso page Julie Kim gives readers a glimpse of the fantastical realm in the form of light clouds and a bird in flight.  The design and format of the visual aspects of this title are in panels.

Their size alternates between full page pictures, half page illustrations, multiple images on a single page and double page pictures. Sometimes they are framed in thin black lines; other times they span page edge to page edge.  The text may be in speech balloons or for effect written on the illustration.  When a new character appears in the story it is given two pages with a symbolic element, Koren letters, the Koren name and the English name.

What readers will enjoy (what this reader enjoys) are the facial expressions and body language.  There is never a doubt as to the mood of the moment or the emotional status of any given situation.  These, plus the gorgeous settings, bring us all into the story.

One of my many favorite illustrations spans two pages.  On the left the five colorful goblins with green, red, blue and golden skin wearing patterned and equally colorful clothing are gobbling the treats given to them and pointing for more. Noona is handing out a package of cookies and a juice box.  Joon is pulling out snack after snack from his back pack.  What is charmingly humorous is the stacks of snacks around him look as though they could fit in four back packs instead of just one.


If you have not read Where's Halmoni? written and illustrated by Julie Kim make sure you remedy this as soon as possible.  Then read it aloud to one or more people . . . repeatedly.  I can see this book, a true treasure, being a favorite of listeners.  I highly recommend this for all collections.  At the close of the book, Julie Kim supplies reads with translations of the Koren text and describes the folklore characters and their place in her life.

To discover more about Julie Kim and her other work, please follow the link attached to her name to access her website.  At Sasquatch Books you can read small portions of the four starred reviews this title has received plus view the first of nineteen pages.  Author, reviewer and blogger Julie Danielson reveals the cover on her blog, Seven Impossible Things Before Breakfast, with some additional artwork.  Teacher librarian Cynthia Alaniz interviews Julie Kim on her blog, Librarian in Cute Shoes.  Julie Kim stops by teacher librarian Matthew Winner's All The Wonders, Episode 396 podcast.  She also visits Let's Talk Picture Books for an interview with lots of artwork.  At This Picture Book Life she appears to give us the red bean soup recipe.  Where's Halmoni? was among the winners of The 2017 Nerdies:  Fiction Picture Books introduced by Scholastic's Ambassador of School Libraries, John Schumacher.