Two ducks with attitude are making their way through the forest when suddenly they encounter Moose…
To tell the rest of the story would not only spoil it but would also just be my interpretation of the sparse text juxtaposed against the fabulous illustrations which contain all the action and expressions, the problem and its solution.
This is one of those books that is perfect for encouraging littlies to read both the words and the pictures and tell their own story, and even though Australian children might not be familiar with a moose there is no mistaking what it is and its impact on the ducks. With the endpapers being an integral part of the story, it really does encourage interaction with the whole book and provides so much scope for language development, not just reading.
So, as well as being perfect for littlies, it is also rich enough in its story for being one for those who are learning English as a new language to also engage with. Apart from interpreting the story itself, there is scope to talk about the expressions and emotions, so perfectly portrayed in the illustrations and which are universal.
A true picture book where every element is interdependent and the key link between them is the reader and their imagination.
From the publisher… “About one hundred years ago, the whole world went to war. The war was supposed to last months. It lasted years. It is Christmastime, 1914, and World War I rages. A young French soldier named Pierre had quietly left his regiment to visit his family for two days, and when he returned, he was imprisoned. Now he faces execution for desertion, and as he waits in isolation, he meditates on big questions: the nature of patriotism, the horrors of war, the joys of friendship, the love of family, and how even in times of danger, there is a whole world inside every one of us. And how sometimes that world is the only refuge. “
Published to coincide with the centenary of the Treaty of Versailles, one of five treaties formulated at the Paris Peace Conference as part of the peace negotiations at the end of the First World War, the readership of this book is older than what is normally reviewed for this site, despite its sparse text. However, it is a new and important addition to any collection about World War I and there will be primary school students who will appreciate the conceptual issues it raises as they become more aware of “the difficult truths of humanity”.
Written by a Frenchman now living in Australia, and illustrated by miniature reenactments of the scenes that have then been photographed, the book is the winner of 1st Prize at the Prix Sorcières 2019, France’s most prestigious award for children’s books. The story is based on true facts and its connection to the author and the illustrators and their processes have been detailed in the final pages.
Elise was frightened—of spiders, people, even trees. So she never went out, night or day. One day a strange thing flies in through the window and lands at her feet. And then there comes a knock at the door. Elise has a visitor who will change everything.
This is a charming story, cleverly constructed with its dark and bright palettes, that shows how a child can unwittingly bring life and light back to where there seems only darkness. Using a unique process of drawing Elise and Emil and then placing their cutout figures in a small, tidy home with furnishings crafted of paper and board, photographing them and then adding colour washes or not as the story’s mood dictates, Damm demonstrates how much we really do need others in our lives if we are to experience its true joy. The final page demonstrates this perfectly.
Whenever there is a news story about children visiting an aged care facility, the residents always talk about how alive they start to feel, something that my own mother-in-law experienced herself. Unable to recognise her own son and daughter towards the end, nevertheless she was able to recall the words to the songs that our school choir sang and join in with them. But not only did she talk about it to us for many visits afterwards, the children themselves also talked about the people they had met, the grandparents they didn’t have and the friendships that were beginning to blossom as the visits became a regular fortnightly activity. There was a purpose to their learning new lyrics and practising their singing and my m-i-l always knew when there was a visit imminent.
Lots of scope to develop vocabulary about feelings but more powerfully, never underestimate the power of a child in someone’s life and think about how you and yours could brighten someone else’s.
On the surface, this looks like a how-to guide to creating illustrations using collage, a technique defined by the Oxford Dictionary as “A piece of art made by sticking various different materials such as photographs and pieces of paper or fabric on to a backing”. Created by Jeannie Baker whose collage masterpieces have fascinated readers in all her works including Where the Forest Meets the Sea and Window, the reader is led through various sections that explore and explain such things as the tools to be used, the materials that lend themselves to being used and even a page that challenges the reader to identify a variety of those materials.
But to me, its power lies in its introduction. Ms Baker shares how even examining paint that has dried and weathered fascinated her, and how its cracks and layers told her so much about the story of the object it was adhered to. Each was another story in its history and made her curious and she would carefully collect a piece to add to other pieces that would help tell a similar story. She finds the materials for her work everywhere, both natural and manmade, and she has become more and more observant of the things that make up this world and how they can be used together to create something new and equally wondrous. And as she says, the purpose of the book is to inspire the reader to be and do the same – to look more closely, to discover “secrets and gems”, to think about them beyond their original purpose or state, and to create more and different magic with them.
As young children move through the natural stages of creating pictures, they get to one where their creation must be lifelike and when it doesn’t meet their expectations, that’s where their artistic abilities stall. They are so dissatisfied with their efforts they tell themselves they can’t draw and the negative self-talk takes over. But, as Ms Baker points out, “When you work in abstract, you don’t have to worry about how things ‘should’ be done -it allows for you to be far more creative and free. There are no right or wrong answers: nothing is ‘bad, just trust your instincts and PLAY!”
By offering the reader ideas for starting their own collage and sharing samples of her work by putting the individual found pieces into a pleasing arrangement, this book should kickstart those who have stalled off in a new direction, encouraging them to pay closer attention to the shapes, colours and textures of the world around them, as well as sending them back to Baker’s earlier works to examine them in closer detail.
In the breakneck speed that our children seem to lead their lives, anything that gives them cause to pause, stop, look and wonder, perhaps even create, has to be a positive influence. There is tremendous scope to use this as the centrepiece of a group activity in the library, with children invited to bring in suitable materials and arrange them in interesting ways – rather like the group jigsaw but much more creative because there is no “right way.” Get started with the Teachers Resource Kit and worksheets.
She also talks to the ABC about her long career, her love of collage and her passion for the environment here.
“Once upon a time , the only way for people to get around was by walking, or on the back of a horse, or in some sort of contraption that was pulled by a horse. And then along came…”
Young readers who are fascinated by transport can join the lovable William Bee as he and his dog and a collection of traffic cones wander through the world and history of trains, boats and planes. Part true and part imaginary , his adventures are based on actual facts and these are woven into the narrative to make an engaging story that educates and entertains. With its humour and bright detailed illustrations, young readers have much to pore over and discover and perhaps even be inspired to design their own craft.
Holly the honeybee is the dancing star of her hive: she waggles, she wiggles, and she waggles again. But is there a secret message in Holly’s waggle dance? And could it help the bees survive through a long, hot summer?
The understanding of the importance of bees in our environment and their current plight, particularly during this drought, is becoming more and more widespread, and this is the most stunning book to help little children learn what about these creatures. While it focuses on Holly’s dance that leads the bees to the source of the nectar for their honey, it also offers an opportunity to talk about their critical role in the pollination of plants, without which we would have much less food to choose from.
Adding to the reality of the book are the remarkable illustrations from Stephen Pym and you can read how much work went into designing Holly so she was an accurate yet appealing interpretation here. The Australian bush is brought to life and readers may have fun identifying familiar species.
A peek inside…
To add to the authenticity, there is a page with more information about Holly so adults can easily answer the questions young readers will have.
A must-have addition to any collection that focuses on the environment and its sustainability.
On the highest rock of a tiny island at the edge of the world stands a lighthouse. From dusk to dawn, the lighthouse beams, sending its light out to sea, guiding the ships on their way. As the seasons pass and the waves rise and fall, outside, the wind blows; inside, the lighthouse keeper writes, and the rhythms of his life unfold. But change is on the horizon…
Whatever the season, whatever the weather, the lighthouse keeper must keep the light going to warn ships of the dangers nearby. and this stunning book by Australian illustrator Sophie Blackall takes the reader back to a time in history when men lived on these far-flung beacons, isolated from civilisation and charged with keeping the ships and their sailors safe, regardless of whatever might befall them. Set on a lighthouse on the tip of Newfoundland, the story unfolds of the loneliness and the joy of a typical lighthouse keeper who has a duty above all else.
In 2016, Blackall was awarded the Caldecott Medal, the first Australian to receive if for her work on Finding Winnieand now, in 2019, she has won it again for Hello Lighthouse. “Masterful ink and watercolor illustrations illuminate the story of a lighthouse and the family inside. Stunning images of the lighthouse in all kinds of weather alternate with views of intimate interior detail and circular motifs. Blackall’s skill with composition, line and close attention to detail have created an exquisite book. “
But apart from the quality of the illustrations, this is a book that will resonate with so many who are familiar with lighthouses as there are over 350 of them dotted around our coastline. While there are no longer any manned, nevertheless they still hold an appeal and this journey back into another time because regardless of its position, life was pretty much the same for all those who tended the beacons.
Something very different that deserves a place in any collection.
Long, long ago Grandfather lived high on a hill in a one-room house with nine other people, a dog and a goldfish. He loved his mountain home. “Better than an Emperor’s palace “, he would say, and when he went to the village market he could always see his home perched beside the tallest tree on the mountain. At night, Grandfather would tell stories and everyone gathered around to hear them because his stories were the best.
But time passes and Grandfather is old and now he lives in his grandson’s apartment in the city, a busy, noisy, crowded city that has swallowed up the fields, killed the trees and silenced the birds. No longer does he tell stories – he just stares at the fading painting of his mountain and a visit to the markets is one of haste rather than leisure, of fie de lah rather than conversation, where all the buildings look the same and there is no way they can spot their apartment.
But one day the little boy sees a little plant with two pale leaves growing through a crack in the path, and knowing that it will soon be crushed by the hundreds of rushing feet, he rescues it and despite his grandfather’s pessimism about its future, the little boy nourishes it and it flourishes – and slowly something amazing begins to happen…
If you pick up a book by Christopher Cheng , you know you are going to get an outstanding story, one that will have a profound effect on you. In my opinion, One Tree is as impressive as his iconic One Child (now 21 years old) with its powerful message about the power of one and the change that can happen because just one child believes.
And true to form, Bruce Whatley who says he would “get bored if I stuck to one or two [illustration styles}” has illustrated this book in a completely new style, one that complements the text perfectly. “For One Tree I wanted to do something new yet it had to have a traditional feel. I have fond memories of doing Linocuts in college, carving into soft ochre layers, taking away the space between the lines. Then rolling ink onto it and printing the result. Such a great medium. Not having the time or space and being mobile for most of the time I decided to create the technique using Photoshop on my portable Wacom Cintiq tablet and my Mac. I constructed 3 layers in Photoshop, an off white base layer, a dark ochre middle layer, (these colours echoed the lino and were purely for nostalgic reasons) and a top transparent layer where I copied my pencil roughs. I then used the eraser tool with a stylus pen on the ochre layer to ‘gouge’ out the space between the lines. What was left I converted to a black textured line and added the colours on the layer beneath.” Books Illustrated
Like all quality picture books, this is one that spreads itself across all age groups, inspires the reader to act on what they have read and is a pleasure to read, review and recommend.
During the daytime I’m not afraid of the dark. In the daytime the Dark is small and tucks itself under things almost as if it’s hiding. But it’s different as the day draws to a close and the Dark starts to stretch out and starts to cover EVERYTHING. It’s not too scary when the lights are on even though there are corners where the Dark lurks, but once the lights are off…
And when Dad suggests a camping trip that means being outside in the Dark where the noises are unknown, well that’s a whole new level of scared…
Fear of the dark is a common phenomenon, particularly for little ones who don’t yet understand the concept of Earth’s rotation and night and day and thus it is also a common theme in stories for them. What sets this one apart though is the way that the Dark is personified and explored using engaging language that expresses the child’s thoughts so well. Instead of referring to “shadows”, the little boy says it “tucks itself under things almost as if it’s hiding.” and illustrations that show those same shadows getting longer and longer. But the standout feature is the use of cutouts throughout the book that cleverly highlight the text -“the feeling inside me gets bigger too-like a hole I could fall into” as well as offering a peek into what’s coming. Even the very last page has some that provide the perfect ending.
Like others on this theme, there is much that both parent and teacher can explore with the child as the book is shared – the concept of darkness and how it is created and needed, emotions and fears and how these can be addressed, the stars and other bodies in the night sky …
All in all, a great story beautifully told and brilliantly illustrated that offers both comfort and learning.
As a small boy, the prince was afraid of the dark and so be vowed that when he became king he would banish the dark. And, despite the people’s protests, that’s what he did. Employing a popular political tactic of spreading disinformation so that the people thought the dark was a bad thing and demanded it be banned, he “succumbed” to their wishes and the ban was put in place. He had a huge artificial sun hung above the palace so that the night was as light as the day, and light inspectors were employed to report and punish anyone who turned lights off in their houses.
At first the people thought it was a great idea and celebrated the light, but then their opinions began to change…
As well as being an engaging read for young readers that could have them investigating night and day and how life needs the dark to continue its cycle, it could offer them an opportunity to talk about their nighttime fears, perhaps discovering that they are not alone with them and finding some strategies to deal with them. Would the prince have been better to find another way to ward off his fear of the dark? What sorts of things could he do?
It could also provoke a lot of discussion with older students about current political practices, acting in haste on a tide of popular opinion and the collective power we, in democracies, have to make change. There could also be philosophical discussions about how we need dark to appreciate the light, rain to appreciate rainbows and so forth, focusing on the need for ups and downs in our lives and that like the night, the downs will pass and the ups will come again and we will value them all the more.
The predominantly yellow, black and white colour palette is perfect for spotlighting the messages of the story, whether literal or figurative, and given the depth of the story, one that spans many age groups.