Margaret Pokiak-Fenton, as told to author Christy Jordan-Fenton; illustrated by Liz Amini-Holms,
A Stranger at Home
Annick Press, 2011.

Age 8-12

A Stranger at Home, sequel to the authors’ award-winning 2010 Fatty Legs, is the story of Margaret Pokiak-Fenton’s return to her Inuit family in northwest Canada after two years in a Catholic boarding school, where she learned English, ate different foods, and became unrecognizable even to her own mother. A collaboration between Margaret and her daughter-in-law, Christy Jordan-Fenton, the book captures the process of re-entry faced by anyone returning from life-changing experiences in another culture. In this book, those challenges are framed in terms of losses to the Inuit community when young people are educated in faraway boarding schools.

Unlike aboriginal Australians, who underwent similar difficulties, Margaret was not forced to leave her home on Banks Island. In fact, her father, who also had a boarding school education, had voiced reservations about her desire to leave home and learn English. He understood better than his wife how hard the transition back home would be for their daughter. Time does its healing for Margaret; she is aided by observing the alienation of another outsider in the village and by her growing compassion for his situation. In the end, she bravely agrees to return to the school to accompany her younger sisters so that she can protect them and ease their adjustment to the wider world.

Liz Amini-Holms has done the story a great service with her evocative paintings of the Inuit people in their traditional clothing and native landscape. Her soft, dark palette and slightly blurry images give an exotic yet emotionally intimate feel to the scenes she illustrates. Margaret’s family photographs add further visual documentation in an appealing presentation. Each is referenced alongside the relevant text by a small icon and a page number that indicates the corresponding full-size image in the back matter. Also included are a map of the Northwest Territories and brief biographies of the authors and illustrator. Where the text uses Inuit words, a colored box at the bottom of the page defines the term.

Young readers will find Margaret’s story both historically informative and heartbreakingly poignant.

Charlotte Richardson
November 2011

Right now for our bedtime reading, my daughter and I are revisiting an old classic — The Phantom Tollbooth by Norton Juster (illustrated by Jules Feiffer), Yearling Books, 1961.   I encountered this novel when I was in grade five;  it was recommended to me by a friend.  I remembered reading it and loving it.  It’s a witty and clever book by halves, and I don’t think I ‘got’ everything in it at the time I read it, but following the adventures of this idle and bored schoolboy protagonist Milo “who didn’t know what to do with himself — not just sometimes, but always”  was compelling.   In reading it now with my daughter, I am enjoying the story again with so much more gusto — this time getting, of course, all the many puns and double entendres throughout the book.  My daughter is less enthusiastic.  As she puts it herself, “I like listening to it because it puts me to sleep.”   (Mind you, this fact alone makes it a worthy bedtime read for the parent!)  But while she dozes off, I often continue reading aloud for the sheer pleasure of the story — a pleasure which speaks to the book’s attractive charm and longevity.

The Phantom Tollbooth celebrated the 50th anniversary of its publication this year.   There’s a Youtube video I watched recently of Norton Juster and Jules Pfeiffer talking about the genesis of the book.   A commemorative annotated edition of the book is now available, and a  documentary film, The Phantom Tollbooth Turns 50, is currently being produced, set for release in 2012.   I didn’t discover all this information, until after I’d selected this book for our bedtime reading ritual, so I was quite surprised by the serendipity of my choice and hope that my daughter might remember this book fondly herself when she begins reading to her children in the future.  (If she doesn’t, Grandma certainly will!)

Gabrielle Wang, author-illustrator,
The Garden of Empress Cassia
Kane Miller, 2011 (first published in Australia, 2002).

Ages 8+

In illustrator Gabrielle Wang‘s debut as a writer for middle-grade girls, she introduces her heroine, Chinese-Australian Mimi, with a distinctly off-putting description: the girl smells bad. Her father, it turns out, runs a Chinese herb shop. Between his concoctions and her mother’s cooking, Mimi’s clothes and body are infused so distinctively that she’s known at school as Stinky Loo.

Not surprisingly, Mimi is ashamed of her parents and her heritage and resentful of their strictness. Wang’s story takes her on a journey of discovery in which she and her parents become reconciled, she stands up for herself with a mean girl who taunts her, and she discovers her true talents as she grows into a more sensitive and fully realized character.

Mimi’s path is through art. A teacher gives her a beautiful box of Empress Cassia pastel crayons with the mysterious caution that they are powerful and she must not let anyone else use them. Taking the sidewalk outside her parents’ shop as her canvas, Mimi draws a miraculous garden that literally pulls people in. After their visits to the magical Garden of Empress Cassia, they return to normal reality with no memory of their trip but with a more appreciative sense of life and a more generous attitude toward others. It’s a healing garden, Mimi discovers.

Mimi’s mother takes advantage of the crowds the garden attracts to open a little tea house for visitors. Dad returns from attending his brother’s last illness and death a kinder, gentler man. A popular boy becomes Mimi’s friend. When the mean girl tricks Mimi and steals the pastels, the garden she draws sweeps her into a dark experience from which Mimi and her friends save her.

All’s well that ends well in this fantasy, but teachers and parents may have objections beyond Wang’s smelly introduction. Throughout the text, adult Chinese are quoted as speaking in pidgin-like English; a few initial quotes or scattered examples could do the job as well, without modeling muddled grammar. Wang‘s illustrated map of Empress Cassia’s garden in the back matter helps readers imagine Mimi’s adventures. While thoughtful readers may wish for better editing, The Garden of Empress Cassia nevertheless offers an exciting tale for young girls from any culture.

Charlotte Richardson
November 2011

Shogo Oketani, translated by Avery Fischer Udagawa,
J-Boys: Kazuo’s World, Tokyo, 1965
Stone Bridge Press, 2011.

Ages 9-12

J-Boys describes the life a Japanese boy, Kazuo Nakamoto, living in Tokyo in the mid-1960s.  The book is laid out in chronological segments over a year starting in October.  Kazuo is nine years old and lives with his brother Yasuo and his parents in West Ito, a district in Shinagawa Ward in Tokyo.  Set in an interesting period in Japan’s more recent past, this account of a boy’s life in mid-’60s Japan touches on a wide range of social topics relevant to the time.  For example, the book discusses the issue of migrant labor used to develop the rapidly growing city of Tokyo, the racism against resident Koreans, and pervasive American cultural influences present on TV and in music.

There is nostalgia for this lost world prevalent in Japan at the moment – a period roughly corresponding to the latter part of the Showa era; and J-Boys is really a book that celebrates that Japan from a child’s perspective.  But at the same time as the book is nostalgic, it also explains the culture of the day to an English-reading audience. Alongside the main text are side-boxes explaining cultural items such as the names of foods, or the terms of reference for certain holidays or traditional art forms, which help contextualize Kazuo’s world for the reader.  I found these more or less helpful; with a book like this, it’s always difficult to ascertain what or what not to include as extra information for the reader.  However, using the side-boxes I think was a good device.

J-Boys is a great read that brings a certain slice of Japanese life to life, without making the culture seem like an artifact.  Yes, this is an account of a Japan of the past, but of a recent past that contains many elements of interest to readers, from the once ubiquitous urban phenomenon of the bath house to the gathering spot of Kazuo’s friends in the empty lot.  I appreciated the fact that this book is a translation of a Japanese author, Shogo Oketani, who lived through the period described. Stone Bridge Press and translator Avery Udagawa should be credited for taking on a book like this to give young readers an insightful look into Japanese society from the perspective of a young boy growing up in the ’60s. Alongside the book, one can consult the very helpful J-Boys website for information on the author and on Japan, as well as resources for teachers.

Sally Ito
October 2011

A chee-lin is a Chinese mythological creature, “a horned beast with the body of a deer, the tail of an ox, and the hooves of a horse”. When a giraffe was brought to China from Africa in the 15th century it was considered to be a chee-lin, bringing good fortune. We learn this at the beginning of James Rumford’s beautiful picture-book Chee Lin: A Giraffe’s Journey, alongside a beautiful ink drawing by Shen Du (1357-1434) showing a contemporary portrayal of the chee-lin/giraffe. What follows is Rumford’s interpretation of Tweega the giraffe’s story, from his birth in East Africa, through his incredible journey to China and his long life in the imperial palace gardens, including the visiting artist painting his portrait, to his mysterious disappearance on a summer’s day.

You can read more about the book in Charlotte’s review for PaperTigers- I totally concur with her concluding words: “Chee-lin is superb.”  The book is visually stunning, with bordered paintings in casein on the right hand page and text on the left, set against a rich array of backgrounds reproducing “African baskets and cloth, Persian tiles and India rugs, Chinese brocades, porcelain, and cloisonné.”  At the end, there is a fabulous map showing Tweega’s journey, and an Author’s Note giving more information about Shen Du’s painting and poem, including Rumford’s own calligraphy and translation.

Chee-Lin is also one of those precious picture books written for older children.  It would make a perfect bedtime book for sharing, where children and grown-ups are taking it in turns to read; or if you’re looking for a longer readaloud to last a few days but don’t want to forgo quality illustrations: each double-page is like a chapter with its own heading and separate episode in the story. It’s also just the kind of book that children will then pick up to read again on their own.  That’s what’s just happened in our home!

Another of Rumford’s books, Rain School has recently been selected as one of our 2011 Spirit of PaperTigers book set.  Do also read our wonderful interview, in which you can find out more about Chee-Lin, and find some of the illustrations in our Gallery.

My Books at Bedtime read this week probably needs little to no introduction.  The Invention of Hugo Cabret by Brian Selznick (Scholastic, 2007) has won the Caldecott Medal and has received wide acclaim for its ground-breaking style of presentation of text mixed with graphic novel style illustration.   I’d been lent the book sometime ago by a teacher friend, and it was only recently that my daughter and I embarked on a reading of it.  The book completely charmed her.  A recalcitrant reader at the best of times, she enjoyed the fact that some of the narrative was entirely pictures, but on the other hand, the story in print was so engaging, she would read aloud the pages with text without her usual grumbling.  (We take turns reading aloud the pages — I read one page, she reads another.)  In fact, I think she crossed a major threshold in her reading ability with this book insofar as she was now actually comprehending what she was reading textually rather than reading aloud to get  the right pronunciation of the words (only!) without fundamentally understanding the content of what she had read.   No doubt having the narrative driven by the cinematic series and sequences of drawings between textual portions helped this process along.

The Invention of Hugo Cabret for those unfamiliar with the book is about an orphaned boy, Hugo, who lives in Paris of the 1930′s in a train station where he fixes the station’s clocks.   Hugo is fascinated by all things mechanical and in particular, is in possession of a notebook containing a curious drawing of an automaton.  One day while attempting to steal a mechanical mouse at the train station toy shop, he is caught by the old man proprietor who makes Hugo surrender his precious notebook to him.  However, the proprietor’s god-daughter Isabelle saves the notebook in exchange for finding out a little more about the mysterious boy hiding and living in the train station.  Thus begins an awkward friendship and relationship between these three characters who have more in common than they know.   The story, as I noted before, is told in a combination of words and pictures, and really is a paean to the days of early cinema.

The Invention of Hugo Cabret is a wonderful, cross-genre book and I do recommend it highly as an innovative bedtime read for your middle-years child.

One Arm Point Remote Community School,
Our World: Bardi Jaawi, Life at Ardiyooloon
Magabala Books, 2010.

Ages 8-11

Our World: Bardi Jaawi Life at Ardiyooloon is a stunning, encyclopaedic book that welcomes readers into the remote indigenous Australian community of Bardi Jaawi people at Ardiyooloon a.k.a One Arm Point, at the top of the Dampier Peninsula in the north-west of Western Australia. One hundred and fifteen children from the One Arm Point Remote Community School, along with their School Culture Team, School Staff, and Community Elders, as well as others from the local community, all came together to create this unique document of their culture and environment.

Colourful photographs show the children engaged in the many outdoor activities that form part of their curriculum, including camping and bushcraft. The book is filled with eye-catching artwork by the children, from illustrations for the traditional stories scattered throughout, to an identity parade of local “Saltwater Creatures”. The community’s connection with the sea is very strong. Many of the activities revolve around fishing, from catching to eating the fish. The variety of activities covered is reflected in the headings for each double-page spread, ranging from “Our History” to “Fish Poisoning and Spearing” to “Bardi Jaawi Seasons” (there are six seasons in the Bardi Jaawi calendar). And along the way, there’s “How to Dress a Snake Bite” with the check box “If you survive, you have done this right” – let’s hope so, then!

At the beginning, a colourful series of maps gradually hones in on Ardiyooloon, right down to One Arm Point Remote Community School itself. The Bardi pronunciation guide is useful since relevant Bardi words and their English translations are to be found encircling most pages, with a complementary English-Bardi wordlist at the end. The “Bardi Family Ties” section also teaches the Bardi words for all the different family relationships. Interestingly, birrii means both mother and aunt on the mother’s side; and gooloo means both father and uncle on the father’s side.

The obvious effort and enthusiasm that have gone into the project of putting Our World together have certainly paid off. As well as enjoying their visit to Ardiyooloon, readers will perhaps feel inspired both to try out some of the activities, adapted to their own surroundings, and to create a parallel record of their own communities and school lives. Congratulations to all involved, children and adults alike, in producing such a captivating book.

Marjorie Coughlan
August 2011

SCBWI Malaysia has just announced that the following six children’s books have been selected by the National Book Council of Malaysia for their 50 Best Malaysian Titles for International Rights 2011: The Real Elephant by Yusof Gajah; My Mother’s Garden by Emila Yusof; Eco-kids series by Fay Khoo & Asha Gill, illustrated by Sarah Joan Mokhtar; Fatimah’s Kampung by Iain Buchanan; Hayley’s Vegemania Garden and Hayley’s Fruitastic Garden by Mohana Gill, illustrated by Tan Vay Fern.  Congratulations!

The inaugural catalogue by the National Book Council of Malaysia will be distributed at the Beijing Book Fair (Aug 31 – Sept 4) and Frankfurt Book Fair (Oct 12 – 16). Selected books will be displayed at the Malaysian stand.

Today, August 19th,  is designated by the United Nations General Assembly as World Humanitarian Day: a day to recognize the sacrifices and contributions of humanitarian workers around the world who risk their lives to give others help and hope. It is also a day to examine our own lives and consider what more we can do to help those people enduring conflict, disaster and hardship.

As the UN states:

There is never a year without humanitarian crises (at this moment over 12 million people are suffering in the Horn of Africa due to a catastrophic combination of conflict, high food prices and drought). Wherever there are people in need, there are people who help them. Aid workers help people who have lost their homes, loved ones and sources of income.

These humanitarians often brave great danger, far from home. They work long hours, in the most difficult conditions.  Their efforts save lives in conflict and natural disaster.  They also draw the world closer together by reminding us that we are one family, sharing the same dreams for a peaceful planet, where all people can live in safety, and with dignity.

On World Humanitarian Day, we honour these aid workers and thank them for their dedication. And we pay tribute to those who have made the ultimate sacrifice – in Afghanistan, Haiti and beyond.  Too many have died, or suffered their own loss, in the course of duty.  We pledge to do all we can to ensure the world’s humanitarians are kept safe to do their essential work.

The World Humanitarian Day website provides information, stories and interactive games for those interested in learning more about humanitarian work and how they can become involved. Of course another great way, especially for youngsters to learn about humanitarian work  and what it entails, is via books.  It is interesting to note that over the past few years there has been an increasing number of children’s and young adult books (both fiction and non-fiction) that feature areas of humanitarian work. Deborah Ellis’  books and Rukhsana Khan‘s Wanting Mor immediately come to mind, and others include:

Armando and the Blue Tarp School by Edith Hope Fine and Judith Pinkerton Josephson, illustrated by Hernan Sosa

Books for Children of the World: The Story of Jella Lepman by Sydelle Pearl, illustrated by Danlyn Iantorno

The Brighter Side of the Road: Upbeat and Offbeat Yarn from Home and Abroad, edited by Helen Coughlan and Janet Lawrence

Four Feet, Two Sandals by Karen Lynn Williams and Khadra Mohammed, illustrated by Doug Chayka

Listen to the Wind: The Story of Dr. Greg and Three Cups of Tea by Greg Mortenson and Susan Roth, illustrated by Susan Roth

One Well: The Story of Water on Earth by Rochelle Strauss, illustrated by Rosemary Woods

A Song for Cambodia by Michelle Lord, illustrated by Shino Arihara

Please feel free to share your choices in our comments section.

Lila Majumdar, translated by Srilata Banerjee and with an introduction by Subhadra Sen Gupta,
The Burmese Box: Two Novellas
Puffin Classics (India), 2010.

Ages 9-12

Lila Majumdar is one of India’s best loved children’s authors, and it is clear from reading the glowing introduction by accomplished writer Subhadra Sen Gupta that she has shaped the imaginations of Bengali-speaking children for generations. Translations of her exciting stories are long overdue, and fortunately, her granddaughter and translator Srilata Bannerjee agrees.

Reading The Burmese Box and Goopy’s Secret Diary (the other novella contained in the collection) as an adult is like rediscovering a long lost childhood friend that I never actually met. The stories are fast-paced and exciting with little time wasted on set-up and exposition for, as Banerjee states in a translator’s note, “no child appreciates long-term planning.” These stories take place over no more than a day or two (despite harking back, in the case of The Burmese Box, to a family legend more than a hundred years old) and are filled with plot twists, remarkably eccentric relatives, bungling grown-ups, and the accompanying confusion so natural to childhood.

In both stories, a boy protagonist of about 11 gets pulled into the intrigue of missing jewels and family legends. At first the boys are excited for adventure, but doubt settles in once it is too late to back out and the possibility of real danger looms. What will become of the treasure? Who are the thieves? Why don’t the adults see the obvious? And what exactly is going on here anyway?

The protagonists encounter dream advice from long dead ancestors, secret tunnels in dilapidated mansions, carnivorous cows, and plenty of shifty characters, but everything turns out okay in the end. It would seem that disaster is averted thanks to the innocence and integrity the young heroes retain. Grown-ups who might have mucked up the situation never receive the necessary knowledge to carry out their plans, and justice—no, not justice but something even more important, fairness—prevails.

There will be some challenges for children not familiar with Bengali culture and family relationships as the terms for different relatives are very complicated to those of us used to the English system. Nonetheless, the book kept my eight-year-old son (who preferred Goopy’s Secret Diary) enthralled. I had to wrest it back from him in order to write this review! Fortunately, explanatory notes are included at the end of the book along with biographical data, “Things to Think About”, and a translator’s note that is particularly special considering the translator’s relationship to the author. The Burmese Box is destined to become a classic once again, this time in English.

Abigail Sawyer
August 2011