Leaving Legacies---One Woman At A Time

Women, like all people, need to find their own path.  Numerous times the course they select is one never previously traversed.  They outwit obstacles and break through barriers.  In this way, they form an easier access for those who decide to follow them in the future.  These women are worth remembering.

At times, these exceptional woman seem to exhibit behavior so far from the expected and accepted norm, they are labeled as outlandish.  What Isabella Wanted: Isabella Stewart Gardner Builds a Museum (Neal Porter Books, Holiday House, September 7, 2021) written by Candace Fleming with illustrations by Matthew Cordell chronicles the life of one such woman.  This woman was the quintessential being listening to a different drummer.  

On a tree-lined street in Boston,

in an old mansion,

at the top of the stairs,

in a second-floor room,

empty frames hang,

waiting . . .

These introductory phrases prior to the title page pique readers' interest.  As the title suggests Isabella Stewart Gardner did whatever her heart desired.  Can you imagine walking zoo lions up a prominent street in Boston?  Life in this Boston was much too restrictive for Isabella, so she left.

She toured to grand cities in Europe and Asia.  There, in those cities, she found her personal form of adventure reflected in gorgeous and precious art and architecture.  Whatever medium an artist used, Isabella had a need to acquire it.  She now possessed paintings by Rembrandt and Vermeer.

Buyers for Isabella continued to purchase items, at times using questionable methods, on the other side of the Atlantic to be displayed in her home on Beacon Street in Boston.  Isabella eventually decided to create a museum for the public to enjoy all the collectibles from her travels and the efforts of her agents abroad.

Did she fashion this museum in her home on Beacon Street?  No!  Isabella purchased land and had a four-story home built.  She oversaw every aspect of the venture.  She placed every single item for viewing in a perfect Isabella space.   In 1903, there was a Grand Opening.  Isabella made sure everything stayed in its perfect Isabella space.

For twenty days each year for decades, Isabella welcomed people to her museum.  When she died, she left the museum for the people of Boston to enjoy as long as everything stayed in its perfect Isabella space.  And it was so, until one of the greatest unsolved art heists was committed by a devious duo.  To this day . . . waiting.

With every reading of the words written by Candace Fleming in this title, the story of this woman's life is just as compelling as the first time you read it.  You find yourself drawn into the narrative by the keen sense of time and place and specific descriptive incidents.  The recurring phrase of 

exactly as Isabella wanted

acts as a rhythmic bond between portions of this woman's life.  In fact, as you read this narrative, it is like reading a poem.  There is a beautiful cadence created by the word choices and sentence structure.  Here is a passage.

Every decision---choosing the land, drawing up plans, hiring the workers---

                                                                                           was hers.

And every day at the worksite she clambered up ladders,

scurried across scaffolding, hacked at beams,

plastered walls, supervised, complained,

gave orders to . . .

do and redo, set and reset,

brick and rebrick, build and rebuild

an Italian palazzo that rose up

on that empty swampland---

the Fens---

with courtyard,

and cloisters,

and intimate rooms,

exactly as Isabella wanted.

The pastel palette selected by artist Matthew Cordell for the dust jacket conveys the vitality of this woman's spirit.  Her uplifted arms depict the grandness for which she viewed life and art.  Here, on the front, she is shown with some acquisitions of art.  Do you recognize the two large paintings?

To the left of the spine, on the back, Matthew Cordell features a close-up of Johannes Vermeer's The Concert as it was displayed in Isabella's museum.  Viewers could sit in a chair to further appreciate its beauty.  This was, of course, by design by the amazing Isabella Stewart Gardner.  

When you remove the dust jacket the background scenes remain the same.  But . . . now Isabella is gasping in horror, eyes wide and hands to either side of her face.  All the objects on the front are gone, leaving the walls, frames, and tables bare.  On back, the frame holding the Vermeer painting is empty.  (It was a decision of the museum to do this after the theft.)

The soft yellow of Isabella's gown is the canvas color for the opening and closing endpapers.  Prior to the title page, the first words, as shown above, are placed on a modern-day view of the museum, the glass-covered center courtyard, an outside seating area, and inside room view.  The information on the verso, dedication, page is put inside frames.  Another view of happy Isabella inside her museum is on the title page.  

These illustrations by Matthew Cordell were

created using pen and ink (Hero 9018 fountain pen with Noodler's Black) and watercolor on Canson cold press watercolor paper.

The fine lines, a signature technique of Matthew's work, depict historical elements and fabulous facial expressions.  Even though he is not mentioned in the text, Matthew includes Isabella's husband, John Lowell "Jack" Gardner in some of the images.  He accompanied her on their extensive travels until his sudden death at the age of sixty-one.  Readers will want to pause on other pages to notice included elements like the food and beverage served at the Grand Opening in 1903.

The image sizes vary from page turn to page turn.  Their size is indicative of the narrative, elevating the pacing.  Some of the pictures are framed with fine lines.  Others extend page edge to page edge.  They are highly animated, as was Isabella.  The final two-page illustration is

exactly as Isabella

would have wanted it.

One of my many favorite illustrations is the left portion of a double-page picture.  Here Isabella is standing outside in a Venice courtyard.  Large square tiles are beneath her feet.  Gardens and sculptures surround her.  Extending above her are several stories with arched windows and separate balconies.  Her head is lifted in joy, a smile on her face.  Her arms are raised and spread open.  Her enthusiasm is contagious.

When you read this book, What Isabella Wanted: Isabella Stewart Gardner Builds a Museum written by Candace Fleming with illustrations by Matthew Cordell, one word keeps floating in and out of your consciousness---fascinating.  This woman's life was completely fascinating.  And the mystery of what happened to the artwork is equally fascinating.  In an author's note, Candace Fleming describes more about Isabella, her art collecting, and the museum.  She does address the theft.  And she recommends visiting the museum in person or virtually.  A bibliography and source notes are included.  I highly recommend this title for your personal and professional collections.

To discover more about Candace Fleming and Matthew Cordell and their other work, please visit their respective websites by following the link attached to their names.  Candace Fleming has accounts on Facebook, Instagram, and Twitter.  Matthew Cordell has accounts on Facebook, Instagram, and Twitter.  At the publisher's website is an educator's guide.  In accordance with this book, Matthew Cordell appears on KidLit TV Ready Set Draw! Draw a Self Portrait.  Candace Fleming speaks about the book in a video on the Holiday House Instagram account.

We have to eat to live, but what we eat is vital.  We look for balance and freshness in the ingredients.  Food preparation is essential to capturing the necessary balance and freshness.  It is also an art.  Many believe, the most important aspect, ingredient, is love.  Niki Nakayama: A Chef's Tale in 13 Bites (Farrar Straus Giroux Books for Young Readers, September 14, 2021) written by Jamie Michalak and Debbi Michiko Florence with illustrations by Yuko Jones tells us about a girl who believed in her dreams when others did not.  Her success supplies encouragement to all who know her story.

In a Los Angeles kitchen, a woman tells a story while cooking.  If you were to 

visit her restaurant, you'd be served thirteen dishes.

Each of the thirteen bites contributes to the whole that is her story.  Niki Nakayama was born in America to parents born in Japan.  Her home was the blend of two cultures, Japanese and American.  This was tasted in the food served.

Niki believed that food was only a part of the experience.  It was the group that sat at the table which completed the meal.  Niki loved to create her own recipes, but at the age of twelve she found herself working in the family business.  And it seemed as if her parents only supported her brother's successes, regardless of her hard work.

A trip to Japan after high school graduation changed the course of Niki's life and the promise of fulfilling her dreams.  She wanted to replicate what she discovered.  She needed to attend chef's school.  Despite her parents' objections, she did.  Hard work, study, and another trip served to expand her passion for cooking.

A request was granted, and a promise was made.  Niki Nakayama finally proved herself to her parents, but her deepest dreams were still not being met.  Courage fueled a decision.  Today Niki Nakayama has another restaurant, a restaurant where stories are told with her food.   

The technique used by authors Jamie Michalak and Debbi Michiko Florence to present the life of Niki Nakayama in thirteen bites is as inventive and unique as the cooking of Niki Nakayama.  It supplies a gentle tension and sense of anticipation for readers with every page turn.  Often, they will use the same phrase 

"I'll show them."

to signify her determination, again and again.  Those words were an impetus for her.  Here is a portion of the passage for bite six.

Each dish was a work of art.  Each bite burst with flavor.

The tomato's scent brought back memories of a long-ago picnic.

The corn soup tasted of a warm, lazy day.  Together, the courses

told the story of summer.

Niki learned this storytelling feast had a name:  kaiseki.

We can see on the matching front, ride side, of the dust jacket and book case Niki's love of food and food preparation at an early age.  Her zest for exploring her own versions of foods is seen in the tray stacked with wonton pizzas.  Behind her are ingredients for both the sushi and the pizzas.  On the dust jacket, to the left of the spine, on the back, Niki is peering through the doors of her present-day restaurant from the kitchen into the main dining room.  Here we read a short blurb and remarks about this book by Newbery Medalist, Linda Sue Park.

On the back of the book case a depiction is placed on the white background.  Four courses of the many served to Niki Nakayama in Japan are visible.  Each is an exquisite design, a blend of food and a season.  They are a tribute to our natural world and the stories found there.

On the opening endpapers we see thirteen separate kinds of food on individual dishes or bowls on a warm muted golden canvas.  The title text is positioned on a Menu on the right side.  With a page turn, a double-page picture holds on the left the dedications and publication information.  On the right side, the narrative begins.  The illustration is of Niki Nakayama in her restaurant standing in the opening between her kitchen and the dining room preparing food, knife in hand.  To the left, on the ledge, a potted orchid grows.

Each illustration by Yuko Jones takes readers on a charming journey.  She moves from double-page images to pictures placed inside serving dishes, and then to a single-page visual.  When Niki travels to Japan each location she visits is delineated on a map with loops and black and white dashes.  Circular pictures offer readers a view of her savoring different delectable foods.

Yuko Jones shifts her perspectives for emphasis.  Sometimes two separate points of view are woven into the same illustration.  At one section of the tale, we are looking down at patrons in Niki's restaurant.

One of my many favorite illustrations is a double-page visual.  Here Niki has decided what she will do after closing her successful sushi restaurant.  Spread across the two pages is a bright, sunlit sky with the sun and radiating rays on the left.  Beneath this is a sea of water, gentle waves rolling on a beach on the right.  On the left a high wave frames the back of Niki.  She, attired in her chef's hat, shirt, and apron, is stirring a bowl of pasta.  Three smaller circles holding images are tucked in the waves on the right.  They are portions of previous pictures, a reminder of the progress she has made.

This book, Niki Nakayama: A Chef's Tale in 13 Bites written by Jamie Michalak and Debbi Michiko Florence with illustrations by Yuko Jones, is a testament to perseverance, following your heart, seeking love and laughter, and bursting through boundaries placed on women.  At the close of the book under Ingredients is a two-page timeline of significant moments in Niki Nakayama's life.  The closing endpapers are committed to descriptions of Kuyashii and Kaiseki and the Wonton Pizza Recipe.  Timely and impressive, this title will serve to enhance both your personal and professional collections.

To learn more about Jamie Michalak, Debbi Michiko Florence, and Yuko Jones and their other work, please follow the link attached to their names to access their websites.  Jamie Michalak has accounts on Facebook, Instagram and Twitter.  Debbi Michiko Florence has accounts on Facebook, Instagram and Twitter.  Yuko Jones has accounts on Facebook, Instagram, and Twitter.  This title is highlighted at the Nerdy Book Club, PictureBookBuilders, School Library Journal A Fuse #8 Production, and Jama Rattigan's Jama's Alphabet Soup.  At Macmillan Publishers you can view interior images.  You might want to look through Niki Nakayama's Instagram feed.

A Garden on the Move

Twenty-four titles are stacked next to me, all by the same author.  Prior to 1981 when the first book, Fritz and the Beautiful Horses, was both written and illustrated by her, the only other work to be found were her pictures in the title, St. Patrick's Day in the Morning published a year earlier.  With a few more titles to her credit, a characteristic style of borders, reflecting additional details of setting, flora and fauna, or foreshadowing, had become a part of her books that readers relished, looked forward to with anticipation.

Nearly forty volumes later, Jan Brett, has an artistic technique that is hers and hers alone.  Immersing readers in a title's setting with her exquisite paintings done in watercolor and gouache, she takes us to places we might never go.  Her newest title, Mossy (G. P. Putnam's Sons, September 18, 2012) is the result of observations made when she and her husband were enjoying a summer morning on their dock at Goose Lake.  Lucky for we readers, Jan Brett is able to see stories wherever she may be.


On a misty, moisty morning, a young turtle stood at the edge of Lilypad Pond.  Her name was Mossy.

This turtle, an eastern box turtle, is rather fond of her home.  So fond, in fact, that moss, ferns and eventually wild flowers begin to grow and bloom upon her shell.  Little does she know, when she looks at her image in the pond, her appearance is being noticed by others.

As she peers into the water one day, a face other than her own is looking back.  It's Scoot, another eastern box turtle.  Although he thinks her garden is lovely, it's Mossy that's captured his heart.  It's turtle love!

As the two, eyes locked, make their way toward one another, Mossy is lifted up, up and away.  Oh, no...Dr. Carolina, curator of a local natural history museum, believes Mossy will be her star exhibit.  Nothing could top the appeal of a colorful garden growing on a turtle's back.

She and her niece, Tory, design what they believe is the perfect home for Mossy.  But how can not being at Lilypad Pond be called home?  Mossy misses Scoot.  And Scoot waits for Mossy.  Summer moves into fall and fall into winter.  Mossy's popularity grows.

A visit by Tory's class, a question and spring's arrival cause the museum to be closed.  What's going on?  What's happened to Mossy?  The labor of two strangers answers all questions bringing this story to an unexpected but wonderfully natural conclusion.  Jan Brett wouldn't have it any other way.


When reading the narrative scripted by Jan Brett, it's not hard to imagine walking in the woods, coming upon a pond with an eastern box turtle sunning herself upon a rock.  Jan Brett would point to her, drawing attention to the beauty growing on her carapace.  Then she would begin a story stepping back to the Victorian times about this turtle and her mate, a naturalist and her niece blending the two tales into one of respect, admiration and faithfulness fulfilled.


If you open the jacket (cover) Scoot, on the back, is moving right along toward Mossy on the front as she glances back at him.  The opening and closing endpapers, identical, are an intricate montage of a myriad of mosses.  A small oval portrait of Mossy is centered on the title page surrounded by a collection of feathers.

Like a naturalist's sketchbook each two page spread features a collection; moths, mosses, fungi, wildflowers, rocks and minerals, sea shells, butterflies beetles, fossils, seeds, orchids, feathers, and butterflies.  Framing the illustrations these collections are themselves each framed with delicate lines  depicting new and numerous types of borders.  A realistic array of colors are captured in each picture making the reader feel as though they might step right into this spectacular world.

Having been a fan of Jan Brett's illustrations and stories for years, it would be hard for me to not like one of her books.  Without a doubt I am placing Mossy in my top ten.  I have already read this title again and again.  The one thing I have not been able to find yet is Hedgie, usually hidden in all her titles, but what I did find (oh, Jan Brett, most clever) is something  sure to please a very special person.

Not only will this book be enjoyed again and again by readers but the possibilities for extending the text are huge given all the natural collections displayed on every turn of page.  The link for Jan Brett's home page is embedded in her name above.

Mossy bookmarks can be found at this link.  A 2013 calendar using Mossy as a theme is here.  To make postcards with the Mossy illustrations click this link.  For news about this title, Jan Brett's ideas and extras about Mossy click here.

To see how Jan Brett draws Mossy watch this video.

That Canine Classmate Is Back

Having a dog as a schoolmate is the most natural thing in the world for students at Champlain Elementary.  When Bailey (Scholastic Press, August 2011)(review here) written and illustrated by Harry Bliss was introduced to readers, I can imagine them wishing they could attend class with this comical four-footed, furry student.  Never a dull moment tops the agenda of days spent with Bailey.

In this companion title, Bailey at the Museum (Scholastic Press), Harry Bliss places his canine character with his school chums on a tour of the Museum of Natural History.  Field trip fun is in the offing.  Miss Smith, the epitome of Educator of the Year, is one very calm (usually), patient lady.

No one is more elated about this new adventure than Bailey.  Tail wagging like brushes in a car wash, Bailey can hardly await to arrive.  With instructions to select a buddy and stay in...Bailey...what are you doing in the fountain?

All begins well until the group, lead by the museum guide, stands before the bony Tyrannosaurus rex.  Bones plus dogs equals sheer satisfaction except in a museum exhibit.  Shouts, gasps, and one guard with a ladder saves the day and the dog.

Touring with Bailey is his new partner...you guessed it, the guard.  Lunch is a bonus for Bailey; the guy has a huge heart.  Doggy kisses are the dessert of the day.

From the Stone Age to the Native American exhibit complete with a totem pole, artifacts and a tepee the visit continues.  Wait a minute...where's Bailey?  He's snoozing away inside until the clever guard utters the one word all dogs jump to---SQUIRREL!

Despite their scurrying the class has disappeared.  But everyone knows, no nose is like a pooch's nose.  Rescued becomes the rescuer and a friendship is forged.


Harry Bliss uses one or two short, simple sentences for each of his illustrations as his narrative text.  Interspersed in his visuals are Bailey's thoughts in speech bubbles as well as other character's thoughts and dialogue which are similarly shown. It's in these additions readers are enticed to participate in the story and love being there.  While seeming to be as human as the other students Bailey's actions and unspoken words are all dog.  Hilarity abounds.

Museum guide:  Clown fish have orange and white coloring and live in reefs.

Bailey:  I wonder if they miss the circus?


According to an interview given at Seven Impossible Things Before Breakfast on April 2, 2009, Bliss states his usual medium is black ink and watercolor, having mastered this technique and created his own notable style over the course of his career.  A sense of movement is prevalent throughout the book with the alteration in perspective, extent of the illustrations on the pages (size), use of white space and Bailey's ever present tail wagging merrily.  The jacket and cover art, like the narrative, give readers a hint of Bliss's keen sense of humor. On the back Bailey is shown peering from behind an ancient vase encased in glass.  Pictured on the vase is a toga-wearing dog chasing a squirrel; bones completing the design at the top.

Attention to detail invites readers to pause or reread.  On the school bus a student is reading The New Yorkshire while others read graphic novels and chapter books.  On the guard's ladder is Warning: No Dancing.  Beneath the progression of mankind painting hanging on the wall is the class walking in a line--guard, Miss Smith, students, tallest to shortest, with Bailey leading.  The comparison is grin-worthy.


The combination of Harry Bliss's wit and artistic talent gives readers another grand episode in the life of this irresistible dog who loves school and everything it includes.  Bailey at the Museum is one trip you won't want to miss.  After all, he's just your average student...with a tail, paws, big black-tipped nose and a bright red collar.  This guy has captured my heart.

For another more recent interview of Harry Bliss follow this link.

Enjoy this short video of Harry Bliss drawing Bailey.

Let's Go Exploring

Using Exploratorium, the museum of science, art and human perception, is an experience that could consume hours.  Where else can you discover how to make a battery using your hands, explore how to make a virtual skull, how to tie the six best knots to use on a voyaging canoe, listen to different frog sounds and make a frog chorus, or learn how to make a light painting.  It's one stop shopping for coolness.

Exploratorium was selected in 2011 by the AASL to appear on their Top 25 Websites for Teaching and Learning.  It falls under the Content Resources:  Lesson Plans and More, Standards for 21st Century Learners, 2.1.4 Use technology and other information tools to analyze and organize information, 2.4.4 Develop directions for future investigations, and 3.1.2 Participate and collaborate as members of a social and intellectual network of learners.

At the site's home page users are invited by a selection of tabs at the top to peruse the pages according to their status, Who Are You?; educators, parents, artists, teens, museum professionals, scientist, geeks or just plain curious.

When the Explore tab is chosen the following categories appear:  astronomy and space, culture, Earth, everyday science, human body, listening, living things, material world, mind and seeing.  Within each category are thumbnail visuals when moused over give a brief description of what is offered. 

Location and directions, hours and administration, plan your visit, calendar, Tactile Dome, school field trips and groups and parties are options available under the Visit tab.

Under the Membership tab users learn about levels and benefits, how to join on the spot, birthday parties, events, programs, day camps, the homeschool program and frequently asked questions.

By clicking on the About tab readers can better understand the museum's mission which is partial stated below:

The Exploratorium is a museum of science, art, and human perception located in San Francisco, California. We believe that following your curiosity and asking questions can lead to amazing moments of discovery, learning, and awareness, and can increase confidence in your ability to understand how the world works. We also believe that being playful and having fun is an important part of the process for people of all ages.


We create tools and experiences that help you to become an active explorer: hundreds of explore-for-yourself exhibits; a Web site with over 25,000 pages of content; film screenings; workshops for lifelong learners ...

Each year I do a unit with our third grade students building on the Caldecott award winning book, Snowflake Bentley written by Jacqueline Briggs Martin and illustrated by Mary Azarian.  Using the site search box typing in snowflakes, I was rewarded with a plethora of resources; 1,040 to be exact.  To narrow your search on the right hand side are other keyword phrases to use. 
Exploratorium is an outstanding resource for professional and personal discovery.  It's a way of bringing the museum right into your own room.