Author Ting-Xing Ye’s mother used to say, “It’s typical! Three Monks, no water!”  whenever she or her brothers and sisters tried to get out of doing something.  Three Monks, No Water (Annick Press, 1997)is the story behind that enigmatic expression – and since reading it, I can see it becoming a useful phrase in our home!

A young Buddhist monk lived alone at the top of a mountain.  Every day he had to fetch water from the foot of the mountain, using a yoke and two buckets.  That provided him with enough water for his personal needs and to water his small vegetable garden.  One day, he was joined by an older monk.  Their attempts to bring water up the mountain together, stringing a single bucket on a pole carried between them, were not very successful; and each felt it was the other’s task to fetch more water, so neither went.  The vegetables in the garden began to die.  Then a third monk arrived, and the situation worsened.  As each monk refused to give way, or compromise his stance in any way, the outlook became bleaker, and certainly none of them was composed enough to meditate or pray.  Then one day, disaster struck… Would they be able to let go of their antagonism and work together to put things right?

Three Monks, No Water is just the kind of fable that will appeal to young children with a strong sense of right and wrong.  The narrative certainly makes no excuses for the monks’ unreasonable behaviour, but leaves plenty of scope for young listeners to react.  Illustrator Harvey Chan’s background of acrylic on gessoed board gives the illustrations an interesting texture for the colored pencil drawings in soft, muted colors; and I love the monks’ facial expressions.  And on every page, like a heavy watermark, a line of calligraphy conveys the expression of the title.  Plus there’s a specially designed seal inside the front and back cover, with a short explanatory note, and together these add a nice extra touch.

This is a great story for conveying the importance of dialogue and reciprocity, giving as well as expecting and taking – and it can be applied to a directly parallel scenario of three individuals, or on a global level, or anywhere in between…

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