Week-end Book Review: Going to Mecca by Na’ima B. Robert and Valentina Cavallinni

Saturday, January 5th, 2013

Reviewed by Aline Pereira:

Na’ima B. Robert, illustrated by Valentina Cavallinni,
Going to Mecca
Frances Lincoln, 2012.

Ages: 5+

Going to Mecca opens with the image of a family getting ready for a trip to Saudi Arabia, where they will be performing the Hajj, the holy pilgrimage to Mecca that is considered one of the pillars of the Islamic faith. We see the youngest of the three children waving goodbye to his parents and siblings. Still a baby, and not yet ready for the journey his family is about to embark on, he is staying with grandma…

Read the full review

Celebrating PaperTigers’ 10th Anniversary

Wednesday, October 10th, 2012


Today we are launching the celebrations of our 10th Anniversary with this stunning poster created by artist John Parra.  Thank you, John!

John features in our Gallery as part of our celebrations over on the main PaperTigers website – and you will also find another Gallery featuring our talented web-designer Eun-Ha Paek, as well as new articles – one by me:

Looking Forward to the Next Ten Years of PaperTigers, and Beyond;

and another:

Celebrating PaperTigers 10th Anniversary: What a Smilestone!
by PaperTigers former Managing Editor Aline Pereira

There’ll be plenty more to look forward to over the coming month, including some Top 10s from a number of our friends around the Kidlitosphere so come on in and join the party!


Asian Festival of Children’s Content Announces Two Asian Book Awards!

Monday, May 7th, 2012

PaperTigers is a proud sponsor of the 2012 Asian Festival of Children’s Content (AFCC)  which will take place May 26 – 29 at The Arts House in Singapore.  Lots of exciting events are planned this year; check out the featured speakers and programme by clicking here and the 2012 AFCC trailer here. As well organizers have just released the following information about two Asian Book Awards for children’s literature!

Asian Festival of Children’s Content Announces 2 Asian Book Awards

Asian Content for the World’s Children

 Singapore, 27 April 2012– Asian Festival of Children’s Content (AFCC) 2012 announces two Asian Book Awards, Scholastic Asian Book Award and SingTel Picture Book Award.

The Scholastic Asian Book Award is a joint initiative of the National Book Development Council of Singapore (NBDCS) and Scholastic Asia to recognise excellence in Asian children’s fiction. In its 2nd edition, this award showcases the diversity of literary talent within Asia and inspires more Asian-themed books and stories.

The winning manuscript will receive a prize of S$10,000 at the award presentation ceremony on 29 May 2012 during this Festival. It will also be considered for publication by Scholastic Asia. The four nominations for the Scholastic Asian Book Award (SABA) 2012 are, Bungee Cord Hair by Ching Yeung Russell (US), Double Take by Katherine Seow (Singapore), Hidden in Plain Sight by Ang Su-Lin (Singapore) and The Locked Up Boy by  Pauline Loh Tuan Lee (Singapore).

The judges for the SABA 2012 are, Chief Judge Nury Vittachi (Hong Kong), Ken Spillman (Australia), Helen McAleer (United Kingdom), Sayoni Basu (India) and Naomi Kojima (Japan).

In 2011, the winning manuscript was from Uma Krishnaswami, titled, ‘Book Uncle and Me’. Uma will be giving a talk during the Parents’ Forum on ‘Using Multicultural Books to Teach Your Child About the World We Live In’. The first runner up was Marjorie Sayer for the novel ‘The Girl Mechanic of Wanzhou’. [N.B. Papertigers’ former editor Aline Pereira was a judge for the 2011 award. Read about her experiences here and see photos from the event here].

Ovidia Yu’s story ‘The Mudskipper’ was the second runner up in the Scholastic Asian Book Award 2011 and will launch at this press conference. ‘The Mudskipper’ has reached the publication stage and will be available at the Festival. Based in Singapore, Ovidia Yu is an award-winning novelist and short-story writer whose plays have been performed locally and abroad. ‘The Mudskipper’ is her first book for children.

AFCC also introduces the inaugural SingTel Asian Picture Book Award. This Award will be presented annually for an outstanding unpublished picture book with a distinctly Asian theme offering a total of S$10,000 for the First Prize consisting of S$5,000 for an author and S$5,000 for an illustrator.

The first award will be given in AFCC 2013. Submissions are now open till 31st December 2012.

This Award aims to inspire the publication of and to propel public’s interest and support for more Asian-themed picture books.

Interview with Denise Johnstone-Burt, Publisher and Associate Director at Walker Books

Tuesday, October 4th, 2011

Founded in 1978 by Sebastian Walker, Walker Books is Britain’s leading independent publisher of high quality books for children of all ages. From a modest start, with just 18 titles in 1980, the company now produces over 300 paperback and hardback titles a year, more than any other children’s book publisher in the UK. A sister company, Candlewick Press, was set up in the US in 1992, and Walker Australia was launched a year later. Publishing purely for children for over a quarter of a century, Walker Books offers a diverse range of books, including picture books, board and novelty books, anthologies, fiction and non-fiction.

Denise Johnstone-Burt, Publisher and Associate Director at Walker and one of Britain’s leading children’s book editors, kindly answered our questions about the company, the children’s publishing industry in the UK, and Michael Foreman’s A Child’s Garden: A Story of Hope, one of the books selected for inclusion in the 2011 Spirit of PaperTigers project.

Interview by Aline Pereira, former Managing Editor of PaperTigers and currently an independent writer, editor and editorial consultant specializing in multicultural children’s books.


Please tell us about your path to becoming a publisher and Associate Director at Walker Books.

I joined Walker Books as a publisher and Associate Director twelve years ago from Andersen Press where I was Editorial Director, and where I had been working for ten years.

You run a varied and successful list of authors and illustrators, which includes former Children’s Laureates Michael Morpurgo and Anthony Browne, and Kate Greenaway winner Michael Foreman. When it comes to children’s books, where is your passion? What kinds of stories do you mostly enjoy publishing/reading?

I couldn’t pick one type of book over another – it wouldn’t be fair. I love them all!

The most important thing for me in regards to authors is good quality writing. It doesn’t matter if it is a picture book text, a piece of factual non-fiction or a novel – the quality needs to be there. I also look for emotion and humour.

As far as illustrators are concerned, I look for an artist who understands about telling story through pictures. It is extremely difficult to do, as you know, but when it works (for example with Michael Foreman’s work) the story speaks to the reader, whatever their age.

What attracted you most to Michael Foreman’s A Child’s Garden: A Story of Hope, when you first read it?

I loved the way A Child’s Garden was about such a sensitive and important idea seen through a child’s eyes. It felt as though it represented a bit of Michael’s thoughts, a special bit that you could partake in by reading the story. A Child’s Garden is spreading the idea that everyone can do something even in the most dire situation.

Can you tell us a little bit about what working with Michael is like, and about the process of bringing A Child’s Garden to life?

I have worked with Michael for more than twenty years, and it has always been wonderful. We always discuss the story, the shape of it, what it’s about and the approach he wants to take. In the case of A Child’s Garden, Michael came in with the story and read it to me and Ben Norland, Walker Books’ Art Director. We knew instantly that this was a story we had to publish – its message was so important. We discussed how the colour in the book should reflect the growing hope expressed by the text, and Michael took the idea and ran with it.

Wherever Michael goes he sketches and records the small moments that he sees around him. Mia’s Story was inspired by the children he encountered during his travels in South America. He brought in his sketchbooks and we developed the book together. We looked at the pictures, again with Ben Norland, and discussed how we could recreate the feeling that we saw in the sketchbook. The resulting book feels like a cross between a sketchbook and picture book, and has an autobiographical feel to it.

Since its publication in the UK and the US, in 2009, A Child’s Garden has garnered many accolades. Where else has the book been published, or have rights been sold to?

The book has indeed been very successful in the UK and the US, and has also been published all over the world. Foreign language editions have appeared in South America, Japan, China, Denmark, Brazil and Spain.

Do you have a favorite among Michael’s books?

It would be wrong to pick out one since Michael has created so many incredible books, but I loved working on A Child’s Garden with him, as it was, and is, such an important book. We also had great fun working on Say Hello (with Jack Foreman) and Mia’s Story.

Has the role of editors changed much since you first started in this industry?

The role of the editor has changed since I first started in publishing although there are things that are reassuringly still the same. For example, the thrill of receiving a story or discussing an idea with an author or illustrator is as exciting as it ever was, and the process of developing the idea and thinking about how to present it to the reader is still an enormously stimulating, exciting and creative process. It is a great privilege to be able to work creatively with authors from the very early stages of a book’s conception.

I always sit down with an author or illustrator when they have a new idea for a picture book, for example, and he or she will talk me through the new idea. Then we discuss what the story is about, what the emotional heart of the story is and whether the shape of the story is right.  We also talk more practically about whether it is the right length, whether there are parts which don’t quite work, and whether we can make them work, and so on. This conversation can continue over many meetings.

Things have changed, though, so it is much more difficult these days to attract attention to a new author or illustrator and to get them established than it was when I first started working as an editor. There are fewer outlets for books, which means we have to be very clear in our minds where a book might be sold and how visible it will be. This involves much more detailed conversation with sales and marketing, at all stages in the process of making the book, than before. There is only a limited amount of money to spend on marketing individual authors and titles, so I often have to discuss with authors what they can do themselves to help promote their work.

What’s a typical day like for you (if such a thing exists)?

I work partly from home and the rest of the time in the office.  For those days when I am in the office, I find that I spend most of my time either meeting with authors and illustrators and discussing their new or ongoing ideas, or working through projects with my fellow colleagues in design and editorial. I spend most of these days in conversation about books. We also have regular meetings with sales, marketing and production where we discuss the programme and the costings of different projects, as well as development meetings where we float new ideas. There is no such thing as a typical day at Walker Books.

What was your favorite book growing up?

I loved so many…The Silver Sword by Ian Serraillier, Ballet Shoes by Noel Streatfeild, Emil and the Detectives by Erich Kastner, The Snow Goose by Paul Gallico, Finn Family Moomintroll by Tove Jansson…

Can you give us a snapshot of the children’s publishing industry in the UK these days and how digital publishing is affecting things?

Wonderful books are published in the UK for children, but sadly there are fewer and fewer outlets where they are sold, and not many places where children can browse and choose books to buy. That’s why projects such as PaperTigers are so vital for helping keep children’s books visible.

Regarding the movement toward e-books, many children growing up today have never known a world without electronic methods of delivering information, so as a publisher, it is exciting to me to think about new story platforms. The methods of delivery may be changing, but good stories will always endure. We no longer sit round the campfire but children continue to read and listen to stories, albeit in new ways.

What is Walker’s digital publishing strategy, and how does it fit in with the company’s long-term goals?

After signing up for the iBookstore and with many other visible market places opening up for four-colour content, Walker is assessing suitability from both front- and backlist illustrated titles. We aim to support both fixed format ePub and ePub 3 along with other relevant formats in due course. [ePub is the abbreviation for electronic publication, a widely adopted digital file format.]

Walker has a long history of supporting children’s charities. Please tell us about some of the charity-related initiatives the company has developed or been involved with.

Last year we worked with the UK Children’s Laureate, Anthony Browne and created a book in aid of Rainbow Trust (who work with families of children with life-threatening illnesses) which promoted visual literacy. In 2010 we celebrated our 30th anniversary with a fundraising spectacular, which raised over £30,000 for the National Literacy Trust. We also have a volunteer reading scheme at our local primary school, which pairs Walker Books staff with children needing reading help.

Would you give us a taste of your Fall 2011 and Spring 2012 catalog?

We have some wonderful books coming up, including: The Pied Piper retold by Michael Morpurgo and illustrated by Emma Chichester Clark; Pop-up London by Jennie Maizels; Aladdin (a magical three-dimensional carousel edition) by Niroot Puttapipat; How Do You Feel? by Anthony Browne, and George Flies South by Simon James.

I am also very excited about the release of the paperback version of Patrick Ness’s new novel, A Monster Calls, inspired by an idea from Siobhan Dowd [read Denise and Patrick’s joint interview to Publishers Weekly, about working together on this unusual project, here].


Thank you for taking the time to answer our questions, Denise. PaperTigers is very grateful to Candlewick Press, the US Sister Company of Walker Books, for its generous discount for A Child’s Garden: A Story of Hope in support of the Spirit of PaperTigers project. Congratulations on your great work, and we wish you continued success!

To find our more about Walker Books, visit their website, or follow them on Facebook and Twitter.

Interview with Kate O’Sullivan, Executive Editor at Houghton Mifflin Books for Children

Monday, September 19th, 2011

Houghton Mifflin introduced its list of books for young readers in 1937. In December of 2007 the company acquired Harcourt Education, making the combined company, Houghton Mifflin Harcourt Trade and Reference Publishing Group the largest K-12 publisher in the world. An imprint of the company’s Children’s Book Group, Houghton Mifflin Books for Children currently publishes approximately 75-100 books a year. Ranging from picture book to young adult titles and everything in-between, its line-up of contemporary authors and illustrators includes Lois Lowry, Sy Montgomery, Claire A. Nivola, Allen Say, and more.

Kate O’Sullivan, Executive Editor at Houghton Mifflin Books for Children, answered our questions about James Rumford’s Rain School, one of the books selected for inclusion in the 2011 Spirit of PaperTigers Book Set, and about Houghton Mifflin Harcourt and the children’s publishing industry in general.

Interview by Aline Pereira, former Managing Editor of PaperTigers and currently an independent writer, editor and editorial consultant specializing in multicultural children’s books.


Please tell us a little bit about your path to becoming an editor.

A college course in mythology had me looking at ancillary interpretations of old texts; I came across illustrated versions of The Odyssey and Argonautica and was hooked by the merging of word and picture to relay narrative. I figured children’s books was where it’s at—not being a writer or artist myself, editor seemed like a good fit.

The publishing industry being as competitive as it is, I worked my first couple of years in college textbook publishing at St. Martin’s Press before getting through the door to children’s trade. That was thirteen years ago and I’ve never looked back!

What makes you passionate about the projects you acquire?

If I laugh, cry, or go goosebumpy, I’m sold. I’m always looking for convincing, authentic stories.

Rain School draws on the author’s experience of teaching in Chad, Africa to portray a village’s commitment to educating its children, against all odds. What first attracted you to Rain School when you first read it? Was the story already illustrated then?

Rain School is such a simple, spare story—but it packs an emotive punch. I love how it shows us that with hard work and determination, the rewards of an education can last a lifetime. And that it does this without ever feeling preachy or forced is no small feat. As with all of Jim’s projects, this one first arrived as a beautiful dummy with exuberant sketches.

Houghton Mifflin has published several of Rumford’s books.  How long have you been working with James, and how is your relationship like?

I’ve worked with Jim since his longtime editor, Amy Flynn, left Houghton in 2003. Since then we’ve worked together on Dog-of-the-Sea-Waves, Sequoyah, Beowulf, Chee-lin, and Rain School. Jim is one-of-a-kind and so are his books; he effortlessly changes his approach and art technique from project-to-project, which keeps things exciting and surprising. There isn’t anything Jim can’t do (or language he can’t speak)! He continuously outdoes himself with each new book and it’s very fun to be in his creative orbit.

Can you tell me a little bit about the actual process of bringing Rain School to life?

This manuscript was ship-shape from the beginning. The real challenge with this project was getting the color reproduction just right in proof. Luckily, the designer, Carol Goldenberg, and our production team are crackerjacks at what they do, so we knew we’d get there.

Is the editorial process of working with an author/illustrator (like Rumford) any different than the process of working with individuals who are solely writers, or solely artists?

Working with authors/illustrators can be a bit more organic and streamlined, as all the pieces are coming from the same source and it’s great to keep the creative flow between editor and creator clear and simple. But each dynamic yields its own advantages, such as the surprises that an illustrator can bring to a text written by someone else.

Can you tell us about some of the accolades Rain School has received since its publication, in October 2010?

Rain School was a Junior Library Guild Selection, garnered a starred review in Booklist, and was included in the Smithsonian Notable Books for Children 2010 list.

How long can the average picture book be expected to stay in print these days?

It’s hard to say. Houghton is known for creating picture books that appeal across generations, so while there are increased expenses now associated with warehousing slow-selling books, it’s always our intention when signing a book that it has a long, vigorous life.

Did you have a favorite book as a child?

I have clear memories of poring over Martha Sanders and Philippe Fix’s Alexander and the Magic Mouse. The artwork was luminous and the story made me want to befriend the misunderstood gator at its center. I also remember staying up late (a lot) with Black Beauty and Mrs.Frisby and the Rats of Nimh. But my hands-down favorite wasn’t discovered until high school: The Once and Future King by T.H. White.

What really excites you, or what do you think there is not enough of on the shelves at the moment?

I’ve always loved illustrated middle grade fiction. As for what I would like to see more of, I’d say literary, non-dystopian, non-supernatural YA fare.

What’s your take on the shake-up the publishing industry has been going through? Are your titles being converted to or co-published as e-books?

There’s no question that e-books are transforming the industry, not least because they’re changing our ideas about books as physical objects—and so presenting us with questions of access vs. ownership. We have a growing team at Houghton Mifflin Harcourt working on converting our books to e-formats—and tackling the unique challenges that children’s books represent in all their full-color, double-page, artful type glory.

In keeping with its position as a leading education company with a truly global network, Houghton Mifflin Harcourt has recently launched The Global Education Challenge. Can you tell us about this new venture?

Everyone has an opinion about what’s wrong with the education system. The goal of HMH’s Global Education Challenge, whose submission phase is now complete and which is supported by the HMH Innovation Fund, was to provide a forum for educators, innovators, students, entrepreneurs and families to put forward their best ideas for how to transform education, inside and outside the classroom.

Ideas came from everywhere and are currently being judged by a group of experts. Prizes totaling $250,000 will be distributed among the top three winners, to be announced this month. Winners will also receive a “book allowance” for the school of their choice. You can read more about the challenge here.

I understand HMH is very committed to donating books domestically and internationally. Would you please tell us more about this?

HMH is indeed committed to donating three million books a year to under-served students who lack access to quality educational materials. With the assistance of partners like First Book, the Sabre Foundation and World Vision, it coordinates large-scale book donations, both domestically and internationally. It also gives to a wide range of organizations in the communities where it operates.


Thank you for taking the time to answer these questions, Kate. PaperTigers is very grateful to Houghton Mifflin for its generous discount for Rain School in support of the Spirit of PaperTigers project. Congratulations on your great work, and we wish you continued success!

To find our more about Houghton Mifflin Books for Children, visit the website or follow them on Facebook and Twitter.

Scholastic Asian Book Award 2012 – Submissions deadline 17 October

Monday, September 19th, 2011

The deadline for submissions to the 2012 Scholastic Asian Book Award is just under a month away, on 17 October 2011 – 5.00p.m. Singapore time.

The National Book Development Council of Singapore and Scholastic Asia have jointly launched the 2012 Scholastic Asian Book Award (SABA). The award will recognise Asians and writers in Asia who are taking the experiences of life, spirit and thinking in different parts of Asia to the world at large. SABA is awarded to an unpublished manuscript (original or translation) targeted at children of ages 6 to 12 years.

This year’s inaugural award was won by Uma Krishnaswami and we can’t wait to see the book. Former Managing Editor of PaperTigers Aline Pereira was one of the judges: read about her Personal View about the Award and the Asian Festival of Children’s Content, where the Award Announcement was made.

For more information, visit the SABA website.

The 2011 Asian Festival of Children’s Content and its Bounties by Aline Pereira

Wednesday, July 6th, 2011

Aline Pereira is an independent writer, editor and media consultant specializing in multicultural children’s books, and until January this year, she was Managing Editor of PaperTigers, a post she had held since 2004. So we are very happy to welcome her back with a Personal View she wrote following her attendance of the Asian Festival of Asian Content in Singapore in May.

Aline had a special part to play in the Festival as she was one of the judges for the inaugural Scholastic Asian Book Award, along with “Chief Judge Nury Vittachi, journalist and Hong Kong’s best-selling English language author; Anushka Ravishankar, award-winning children’s poet and author (India); John McKenzie, principal lecturer at the School of Literacies and Arts in Education at the University of Canterbury (New Zealand); and literary agent Kelly Sonnack (Kelly grew up in Singapore), from the Andrea Brown Literary Agency (US).”

In her article, Aline shares with us her impressions of the Festival as a whole, and gives us a peek behind the scenes of the award. You can read the whole article here – and here are a couple of extracts to whet your appetite.

The big picture

A consistent thread seemed to run through a good number of the panels and sessions, as well as through informal conversations: “There are plenty of valid ways to produce and deliver a book”. This naturally led to discussions about the enormous changes the publishing world has gone through in the last decade or so, and all the things that have played a part in these changes. And to think that there was a time, not long ago, when people believed the Internet was a passing fad… Now one can only ignore the internet, social media and digital platforms at one’s peril. Without a doubt, these new technologies have affected the way children’s books are acquired, published and marketed, but one of the many things I came away with from those sessions and conversations was that having these new tools, platforms and processes is simply a means, not the end goal. Without losing sight of readers’ needs, the end goal continues to be finding ways to foster the creation, reception, and dissemination of a diverse children’s literature in all genres, mediums and platforms. When it comes to bringing children and books together, it should never be an either/or scenario, but a “the more, the better” one. After all, why get territorial and deaf to voices (platforms, devices) that are not our own? With regards to Asian content, AFCC was a call to join forces in that effort.

One of my favorite sessions was presented by US publisher Neal Porter (Neal Porter Books/Roaring Brook Press) on which types of books travel well to other countries, which don’t, and why. He calls himself (more…)

PaperTigers Managing Editor Aline Pereira on “Changes Afoot in 2011”

Wednesday, December 8th, 2010

If you have already read today’s earlier post, received our latest newsletter or taken a look at the latest issue on the PaperTigers website, you will know that there are exciting developments in the offing for PaperTigers, especially as regards our Outreach Programe – developments which will affect both the PaperTigers website and the blog; and you will have realised that for all of us who are involved in PaperTigers, there is also a thread of sadness running through the anticipation of what is to come, for we will very sadly be losing Aline Pereira as a member of our team. Here on the blog, we will certainly be celebrating all that Aline has achieved, before her departure for pastures new in February; in the meantime, here is her final editorial taken from the main PaperTigers website, in which she talks about “Changes Afoot in 2011”:

Who says a Tiger can’t change (or at least rearrange) its stripes?

Led by the desire to expand its outreach program and faced with financial constraints, PaperTigers is in the process of doing just that: reconfiguring its stripes. Some difficult decisions were made that will affect the way things work in the new year.

First, the not so good news…

Come February, sadly, I will be leaving PaperTigers. As a result of the economy downturn that is affecting so many in the United States and of a decision to redirect part of PaperTigers’ funds to the development of an additional outreach reality (as explained below), my Managing Editor role will cease to exist. Marjorie Coughlan, who has been PaperTigers Associate Editor on a part-time basis since 2005, and my partner in crime and good friend, will become PaperTigers only editor.

Since this is my last editorial, I’d like to take this opportunity to say goodbye and to express my gratitude to all the readers, friends, colleagues and contributors for their support, friendship, work and always helpful feedback these past six years. It’s been a pleasure and an honor to have worked/crossed paths with each one of you. Please stay in touch.

On a more positive note, let me be the one to tell you what other changes are afoot for PaperTigers in 2011. I won’t be in the picture after February (except for maybe the occasional article or book review), but the projects I’ve helped grow and, in some cases, establish, will continue to exist–even if in a slightly modified format.

As you know, over the last few years, in addition to offering rich and varied content on the website, we have also been developing our blog and outreach program. In an attempt to present these three realities more clearly, starting in mid-January, those going to papertigers.org will find a new landing page, where they can choose which of the three aspects of PaperTigers they want to read about/explore, i.e. the site, the blog or the outreach program.

On the site itself, topics will no longer be treated through bimonthly issues, as they have been until now. Themes and geographical areas will continue to be covered, but in a more flexible way that is not confined to a bimonthly rhythm. We believe that this will allow the website and blog to be integrated more fully.

We have intensified our outreach program in the course of the last twelve months. Through the Spirit of PaperTigers book donation project we have sent sets of books to schools in many parts of the world. This project will continue to exist, but in a simplified way that takes into account the suggestions made by recipients of the sets in this first experimental year.

Our outreach efforts this year have also made us vividly aware that in parts of the world where clean water and good sanitation are not available, promoting literacy and encouraging children to become “hungry readers” does not get very far. We have therefore undertaken a series of small projects to provide children in areas of need with both books and water. It is PaperTigers’ intention to push forward and further develop these two outreach aspects in the coming year: “water for living and books for reading.”

I think this covers everything about the upcoming changes, so… So long for now, and please remember: PaperTigers is counting on your continued support as it reconfigures its stripes.

May we all learn to embrace change and make the best of it in 2011.


Tiger Tales: PaperTigers Newsletter, December 2010

Wednesday, December 8th, 2010

This month, on the PaperTigers website, we are highlighting a sample of the many and rich features from our previous issues and talking about some changes afoot in 2011.

In her last editorial, Aline Pereira explains what these changes are and how they relate to the fact that, come February, sadly and unfortunately, she will no longer be PaperTigers’ Managing Editor.

Aline’s presence at the helm of PaperTigers over the last six years has been critical; her contribution has been both extensive and immensely valuable for the site and for the blog – and she has also played an important role in helping us move towards a fuller outreach program. To say that she will be missed and that her absence will be a big loss for PaperTigers is an understatement. We are truly grateful to her for all she has done and wish her the very best in her future endeavors.

We hope 2011 will be a year of learning and growth for all of us, and as we prepare to ring in the new year and say farewell to Aline, we offer you these great features from the treasure-trove that is PaperTigers. May they warm your hearts and minds and keep you coming back for more.