Good Reads With Ronna is thrilled to be the third stop on the Good Night, Oppy!Blog Tour. I didn’t hesitate to join in when I heard thatJames McGowan’sdebut picture book was about the Mars rover, Opportunity. I live less than a mile or so from NASA’s JPL (Jet Propulsion Lab) where the rovers are created, maintained, and communicated with so I was eager to learn more about Oppy. She was first launched in 2003 when I still lived abroad and was raising children, with little time to think about planetary exploration.
In McGowan’s story, he’s anthropomorphized the rover and introduced us to Oppy, one of two rovers on the Red Planet in 2004 searching for signs of past life. He blends the fictionalized narrative of hard-working and fun-loving Oppy, a solar-and-battery-powered robot roaming Mars and reporting back to her handlers on Earth, with fascinating scientific facts on most spreads. Plus, the onomatopoeia of the sound effect “Ping! Ping!” before a command from Earth adds an extra atmospheric touch that kids will enjoy repeating.
Readers learn that Oppy, as an Interplanetary Detective, remained in daily contact with “Teams of scientists and engineers …” who command and operate spacecraft using the Deep Space Network (a system of huge antennae throughout the solar system). I always wondered how that worked! In fact, my friend’s husband was one of those JPL experts who, among other key responsibilities, received Oppy’s real-life signals on Earth. Equipped with cameras and other equipment for info transmission, Oppy’s job was to photograph and navigate Mars, report back and explore, explore and explore. In fact, over her lifetime she trekked twenty-eight miles providing invaluable information about the Red Planet for scientists and engineers.
Having successfully dodged many potential disasters, things changed for Oppy in June of 2018 when she went to recharge her battery. She needed a place where the sun could reach her solar panels unobstructed, but a powerful dust storm approached. Getting a message to Earth was impossible as layer upon layer of dust covered her panels. Oppy’s power was running low. With the sun obscured, she’d be unable to recharge. She managed to outrace the worst of the storm and transmit one last time to Earth before losing power forever.
What a game changer the rovers have been! Some of Oppy’s finds have been groundbreaking including her discovery of the mineral hematite on the surface of Mars meaning that at one time there had been groundwater. Another time Oppy got stuck in a sand dune and the process of getting her out required clever commandeering (see art above). That unfortunate experience also helped future rovers and technicians know what areas to avoid! Oppy was productive and persevered well beyond what the teams had ever expected. McGowan’s Author’s Note explains that both Opportunity and her sister rover, Spirit, were designed for ninety-day missions yet Spirit worked for six years while Oppy “worked for almost fifteen years!”
Carter’s expansive illustrations in an array of red tones depict the vastness and dryness of Mars. Spreads are never stagnant and present an expressive Oppy on the go, investigating, soaking up the sun, and receiving commands from Earth that dictate which activities to pursue. I like how several times we’re transported to JPL command central for a different perspective of Oppy’s daily life. And, as the massive storm that ultimately ended Oppy’s career bore down on Mars, I felt sad when Oppy fell silent. By humanizing the rover, McGowan’s made Oppy’s contributions feel that much more important than they already are. Presenting Oppy’s story in this way makes it more compelling to younger readers and those more reluctant to pick up a STEM book. I learned so much and children will too. Such a great way to make kids care about our universe. Thank you and good night, Oppy! If you want to read more about Good Night, Oppy!, check out the other bloggers on the tour listed below.
With a nod to Richard Scarry, this inventive picture book surprises readers with every turn of the page!
Hiss! Screech! Roar! It’s a noisy day in Bumperville! But are the sounds what you think they are? That Honk! must surely be a goose. But turn the page and it’s the taxi that a goose is driving! Using cleverly placed die-cuts, this inventive book hints at what is making the sound, but with each turn of the page, it’s an eye-opening surprise and part of an unfolding story that is part guessing game and part giggle-inducing caper. Abi Cushman is the master of surprise and silliness in this absolutely delightful picture book.
Colleen Paeff:Happy book birthday and congratulations on the release of your second picture book, Animals Go Vroom! Kids are going to love all the unexpected surprises in this book. The way you use die-cuts is so clever. Were they a key element of the story from the start or did they evolve over time?
Abi Cushman: Thank you, Colleen! I am so thrilled to be here. And congratulations to YOU on your wonderful upcoming debut picture book, The Great Stink: How Joseph Bazalgette Solved London’s Poop Pollution Problem. It is so wonderfully told, and the illustrations by Nancy Carpenter are fantastic.
CP:Thank you! I love Nancy’s illustrations, too!
AC: To answer your question, yes! I always envisioned die-cuts in the book. My initial thought was about how animal sounds and vehicle sounds sometimes overlap. And so I wanted the book to be a guessing game where readers had to guess who or what was making the sound.
Die-cut windows are a wonderful device for guessing game type books because they give a little peek at the next spread, and then the page turn offers the reveal.
CP: I love the way even the background characters in Animals Go Vroom!have their own stories that play out over the course of the book. That must have been so much fun to illustrate! Can you tell me about coming up with those stories?
AC: Some of the background characters are inspired by family members. The sloth using the walker is based off of my grandmother who would cover great distances at the mall using her walker. She had a cap she’d wear whenever she’d go out. The two bunnies in the background of the bus scene are a tribute to my two house rabbits, Cosette and Coco.
And then I chose other background characters based on the sounds they make. The artist sea lion shouts out, “Art? Art?” and the baby crow points out the car by calling out, “Cah! Cah!”. The baby crow is actually also based on my son who would do the same thing every time he saw a car when he was younger.
CP:How fun! I can’t believe I didn’t pick up on those sounds! And for more fun, outside of the book, I noticed that you have an Animals Go Vroom! memory game on your website. (It took me 46 seconds and 13 moves to solve it.) How did you come up with that idea and did you create it yourself? If so, how did you develop such impressive skills?!
AC:I have been a web designer/developer for over 15 years, so that coding experience definitely has benefits. Although I don’t specialize in making online games, I was able to find some open source code for a memory game, and then I tweaked it to work on my website and to use the images I created for all the cards. I actually had intended to make a memory game for my first book, Soaked!, but I didn’t have enough time. But Animals Go Vroom! actually worked even better for this sort of game because there is a large cast of characters to choose from.
CP: It definitely seems perfect for a game like that. You dedicated this book to your mom “who really loves snakes.” Is that true? Did you have pet snakes in the house when you were growing up?
AC:I showed this illustration:
to my brother over a family Zoom so he could see how I made his headphone-wearing daughter into a character in the book, and my mom blurted out, “Oh no! Gross!” And we were all kind of laughing because although we all know she does NOT care for snakes or worms, we thought a cartoony-looking snake drawing might be ok.
I didn’t set out to make a book that largely featured snakes, but that’s where the story took me since they make that wonderful hissing sound. I thought, “How can I make it so that my mom HAS to read this book with a bunch of snakes?” And so I dedicated it to her, and she did say recently that the illustration of the kid snake on the dedication was okay. 🙂
And so to answer your second question, NO. There was absolutely no chance of us having pet snakes when I was growing up.
CP:Hahaha! I love that your family shows up in so many different ways in this book. Did you base any other characters on people you know?
AC:Oh yes. I mentioned earlier that the baby crow is my car-loving son, and the kid snake is based on my niece who wore headphones the entire time we were on a family vacation one time. The mama snake is me. Actually the bear in Soaked!is also me. I guess I follow that advice, “Write what you know.” since I apparently just put myself in all my books.
CP:For StoryStorm 2020 you advised people to keep an ugly sketchbook and said the practice freed you up to do the drawings that inspired your debut picture book Soaked!(Viking Children’s Books, 2020). Is there any correlation between the vengeful sketchbook chipmunk at the end of that post and the chipmunk car salesman in Animals Go Vroom? And did any other ugly sketchbook characters make it into this second book?
AC:Hahaha maybe this is the vengeful chipmunk’s origin story. A car salesmunk who becomes disillusioned with life after getting bonked in the head with a flat tire just hours after making his first sale.
But yes, the whole concept of the book came about from this Ugly Sketchbook character: a sea lion flying a jet going RAWRR!
This specific character didn’t end up in the final book, but another sea lion made it into the story as an artist just trying to share their beautiful art with everyone.
CP:I loved the sea lion’s paintings! And I loved the otter taxi passenger, too. I happen to know that he is a published author. I read his research project “Funny AND Female” and noticed that he didn’t ask YOU to talk about being a funny woman in kidlit. (He’s got some nerve!) So, talk to me about being funny. Where do you find inspiration for your humor? Do you have any tried and true tricks to bring humor to a scene?
AC:I find inspiration everywhere- TV, movies, books, my family. Unexpected random or absurd things are often very funny. So I like playing around with creating a pattern and then disrupting it with something ridiculous. Being specific helps create that absurd moment. For example, in Soaked!, I create a pattern in the first spread. “Not that badger. Not that bunny.” and then I disrupt it with something specific and out-of-place. “Not that hula-hooping moose.”
When I was thinking about a passenger for the taxi in Animals Go Vroom!, it was tough because really, it could be ANYONE in the backseat. So I made it fun by thinking of someone who would look glorious with a monocle (an otter, of course), and then I thought it would be pretty ridiculous if in every scene he was eating a different meal and was totally oblivious to the traffic jam. I started with tea because that would be a great contrast to the goose who was having a fit about being stuck behind the bus. And then the next spread, the otter is eating a filet of fish on a plate with a fork and knife. How did he get this fancy meal? Where did he get the utensils? In the next scene, he has an ice cream cone. Did he have the ice cream in the taxi the entire time? Why didn’t it melt? Does he have a freezer in there? I like creating scenes where the reader does a double-take and thinks, “Wait a minute- WHAT?? What’s going on there?” It’s a treat for the curious kid who takes a closer look at the pictures and sees that secondary storyline happening in the background.
CP:You teach a couple of classes at Storyteller Academy. What do you enjoy most about teaching other picture book creators?
AC:Most people enrolled at Storyteller Academy have committed to making a real go at improving their craft. So it is incredibly satisfying to see them put in the work every week and make huge gains in their stories. I really believe that if you put in the work- which is to read and analyze current picture books, think about a compelling concept or character, and then just keep plugging away, that you can become a published author. But a lot of people give up. So it is wonderful to see the dedication from Storyteller Academy students. And I can’t wait to see the manuscripts I’ve critiqued become published books in a couple of years.
CP:That’s definitely something to look forward to. Speaking of craft, what are three tools of the illustrator’s craft that you wouldn’t want to be without?
AC: 1. My Bic mechanical pencil. I use a mechanical pencil to draw all the characters in my books. I like that the pencil always stays sharp.
My Wacom Cintiq tablet. I color all my illustrations digitally using Photoshop and my tablet. I like to apply the color this way because it is easy to correct mistakes, experiment with color, and keep the color palette consistent across spreads. I can also zoom in to apply details. e
Google image search. Even though my books feature anthropomorphic animals, I still use a lot of reference photos. When thinking about a mouse riding a unicycle, I’ll look at photos of mice to imagine what one would look like sitting upright on a seat. How would its leg look while pedaling? Then I’ll look at photos of unicycles. How can I modify this unicycle if the rider had short (mouse) legs? And now what would it look like if that mouse was not only riding a unicycle but also holding a large cupcake? I have to use my imagination, but I still try to base parts of it on real-life so the illustration looks plausible.
CP:That’s fascinating. So, when you’re working on a story, do the pictures usually come first or is it the words? Do you find one is easier than the other?
AC: I usually think of a very general concept first. For Soaked!, I thought about how when you’re stuck in the rain, it actually becomes pleasant after you become thoroughly soaked. The idea of changing your perspective despite the situation staying the same was intriguing to me. Then for a couple months after that, I kept drawing a bedraggled soggy bear looking very disgruntled in the rain. But the whole thing flew together once I thought of the voice of Bear, the main character. The voice drove the story and the words came pouring out.
For Animals Go Vroom!, I again thought of the concept first: sounds that both animals and vehicles make. After brainstorming sounds and animals, I started to see a chain of events forming, so I made a book dummy to see how it would all work with the die-cuts. I started with a small dummy and gradually increased the size with each revision. From there, I was able to draw in a lot more details as it got closer to its final size, and secondary storylines started forming through the illustrations.
When I’m working on a story, I often see images in my head, and I’ll quickly jot them down as very ugly doodles. I’ll also write down little snippets of text. So in terms of what’s easier for me, I think it’s easy for me to picture little moments in a story. But what is hard is actually rendering those imagined scenes and characters properly in the final art. It’s tough to match the idealized images in my head. Plus, doing the final art is so labor-intensive, and there’s also a deadline. But that being said, it is AMAZING when the art director shows you a PDF of the book with the text properly typeset over the full-color art. It makes all those long hours worth it.
CP:I bet! What’s next for you?
AC: I have an unannounced picture book in the works that I’m very excited about. It’s an informational picture book that I would have LOVED as a kid. It’s a book where hopefully kids will be laughing and learning at the same time.
CP:That sounds wonderful, Abi. Thanks for taking the time to chat with me. And congratulations, again, on your terrific new book!
All artwork and photos courtesy of Abi Cushman.
Abi Cushman is the author-illustrator of Soaked!(Viking, 2020) and Animals Go Vroom! (Viking, 2021). She has also worked as a web designer for over 15 years, creating websites for libraries, towns, and local businesses. She runs two popular websites of her own: My House Rabbit, a pet rabbit care resource, and Animal Fact Guide, which was named a Great Website for Kids by the American Library Association. In her spare time, Abi enjoys running, playing tennis, and eating nachos. (Yes, at the same time.) She lives on the Connecticut shoreline with her husband and two kids.
Dakota Crumb: Tiny Treasure Hunterby Jamie Michalak with art by Kelly Murphy is both a rollicking story with a dash of danger and, in its final eye-popping spreads, a seek-and-find challenge. As the clock in the great museum tick-tocks past midnight, a little mouse with a sack and a treasure map scurries past the guards. Plucky Dakota Crumb scours the museum for artifacts, including the rare purple jewel of Cairo (a gumdrop stashed in an exhibit). By day, the little mouse shares her carefully curated finds with fellow tiny creatures that flock to Miss Crumb’s tiny Mousehole Museum. A feast for sharp-eyed readers—who’ll delight in circling back after the story to pore over the illustrations in search of treasure—this gently suspenseful tale, splashed with soft, dusky hues, evokes a world of wonders after dark.
GOODREADSWITHRONNA: Welcome, Jamie! I’m so happy to be on this blog tour and have you as a guest today!
JAMIE MICHALAK:Thank you for having me on your blog, Ronna! 🙂 I love your questions.
GRWR: I love the idea of a treasure-hunting mouse. And in a museum, to boot, where visitors young and old leave lots of things behind! Did you always know you wanted to write Dakota’s story this way or did it evolve as you imagined what things a daring mouse could get up to?
JM:This story absolutely evolved, and I wrote many, MANY iterations of it. I originally imagined an artsy concept book full of tiny objects. Then I built a story around them starring an acorn, who gave readers a tour of his tiny collections and shared stories about his adventures finding them. Finally, I realized it would be more fun to take readers on those adventures. But it wasn’t until I was in line at the Met museum and imagined a mousehole museum underneath it that the story finally clicked into place.
GRWR: Okay, so I’m scared of mice but yet it’s such fun reading about their antics. Are you a fan of mice stories and if so, which ones in particular?
JM: Yeah, I don’t want to run into a real one. Eep! But there’s something about a miniature world that sparks my imagination. I want to visit a mouse house. One with furniture, of course.
My favorite mouse books are Mouse Soup and Mouse Tales by Arnold Lobel, Noisy Nora by Rosemary Wells, Lily’s Plastic Purple Purse by Kevin Henkes, and so many more.
GRWR:The pairing of prose and art in your book works seamlessly. One of my favorite scenes is the guest book one since you had me wondering how little Dakota would make off with a museum masterpiece. What did you think when you first saw Kelly Murphy’s evocative illustrations? Do you have a favorite spread?
JM:Oh, thank you! Kelly’s art is incredible. She’s captured all of the excitement of a night-in-the-museum heist. I also loved that she worked in some nods to Indiana Jones, since there’s a little of Indiana in Dakota. But if I had to choose one spread it would be the one of the Mousehole Museum with all of its exhibits, small animal visitors, and even a cafe of tiny treats! It took my breath away the first time I saw it. It’s the page kids love to linger on and pick out their favorite tiny treasures.
GRWR: The harmless museum heist is just part of the story’s intrigue. Readers have more fun in store! In the last few pages, they find out about the miniature museum run by Dakota Crumb underneath the larger one and are then invited on a seek-and-find mission of their own. I couldn’t resist tracking down the items shown at the end and am sure children will feel the same. Was this cool combination story your intention all along?
JM: I layered on the interactive seek-and-find details after I’d written the heist story. Because Dakota finds only a handful of treasures in the story, I needed to do something with all of the many other teeny objects from my original exhaustive list of them. So I created a treasure hunt list for the reader, and Kelly hid the tiny objects in the art for kids to find.
GRWR:What do you hope children will take away from this reading adventure?
JM:Well, I always hope that they’ll have fun. But I also hope that the familiarity of Dakota’s coveted finds will inspire kids to see that tiny treasures are around us all the time. We just need to slow down and pay attention to them.
GRWR:Thanks so much for this wonderful interview, Jamie! I hope you’ll come back again to share more insights about your books.
Jamie Michalak is the author of many children’s books, including Dakota Crumb: Tiny Treasure Hunter, illustrated by Kelly Murphy; Frank and Bean, illustrated by Bob Kolar; the highly praised Joe and Sparky early readers series, illustrated by Frank Remkiewicz; as well as the forthcoming picture book Niki Nakayama: A Chef’s Tale in 13 Bites, co-written with Debbi Michiko Florence and illustrated by Yuko Jones, and many more.
When not writing, she can often be found singing off-key, drinking too much coffee, or hanging out with her two sons. Jamie lives with her family in Barrington, Rhode Island. For more info, visit her at www.jamiemichalak.com
Good Reads With Ronna is delighted to appear on day three (see schedule below) of the Perdu Blog Tour! I hope you’ll take the time to not only read the book review, but to also watch all the fantastic videos that Peachtree Publishing has shared with us.
Richard Jones makes his welcome debut as both author and illustrator with this tale of a lost (perdu in French) dog seeking a forever family. And may I just add here that Perduis precious! Both the main character and the story itself. With his sweet face gracing the book’s cover, it’s easy to be captivated by his faraway, lonely look.
While we never learn where Perdu has come from because he certainly didn’t tie the neck scarf himself, it’s easy to let that mystery go in favor of the bigger mystery at the heart of this moving story—will he ever find a loving home?
Readers first glimpse Perdu on the title page, head down, red scarf around his neck, and walking through a field. As he carries on his journey, he notes that, unlike a nearby fallen leaf, he has no place to be. Poor Perdu!
He wanders over a bridge on the outskirts of town where he’s noticed by a little girl sporting a distinct red knit pom-pomed hat. Determined to find his “somewhere,” like everyone else, the sweet lost little dog continues his search and wanders into the big, anonymous city.
At the same time as Perdu, intimidated by the city size and its throngs of people, the little girl continues her day out with her mother. I love how, at this point in the book, Jones has zoomed in on the girl whose path keeps crossing that of Perdu’s. She is perhaps outside a library or other notable building with a massive lion statue (a nod to The Snow Lion) while Perdu stands at the top of the statue. I wonder if parents or kids will spy him first.
My favorite illustration is the one when the child spots Perdu sitting outside an expansive cafe window where she and her mom are dining. He’s hungry now and tired and cannot resist the temptation of an open door. Inside he wreaks havoc and is reprimanded by patrons. It’s a demoralizing experience for Perdu yet at the same time things probably cannot get much worse.
In a lovely park scene, where both the girl and Perdu have ended up following the restaurant ruckus, the child approaches the dog. She’s holding Perdu’s signature red neck scarf which he lost when he dashed away during the cafe commotion.
Not a lot of words are needed when the simple act of giving back the scarf to the lost dog speaks volumes about the girl’s empathy and Perdu’s trust. It’s a gentle, loving moment that bonds the pair and fills readers’ hearts with hope.
Jones has given young readers a feel-good story about friendship, trust, kindness, and belonging highlighted by the beautiful, inviting art that solidifies the tale. Jones achieves this warm look with paintings he then edits in Adobe Photoshop. I came away from the story feeling happy for both Perdu and the red-hatted girl knowing that they had both truly found each other for all the right reasons.
The Torah is called the Tree of Life. Just as a tree is always growing and changing, the Torah’s ideas can help us grow and change, too. Yoga can do the same. Both can help us strengthen ourselves, calm our minds, and learn to appreciate the world around us.
Written by rabbi and certified yoga instructor Mychal Copeland, I Am the Tree of Life encourages us to explore both the world of yoga and the stories of the Bible and find meaning in both.
GoodReadsWithRonna: Congratulations on your great honor, Rabbi!What a pleasure to have you as our guest today.
“How might it feel to stand at Mount Sinai? To dance at the red sea?” are the inviting opening words to your lovely picture book. This gentle and meaningful introduction to yoga through Torah exploration is a wonderful idea for a story. Please share your inspiration with us. Is this a practice you use with children?
Rabbi Mychal Copeland:This book came together organically, doing yoga with children at Jewish summer camps and synagogues. We imagined, together, which stories we could form with our bodies. I loved seeing kids use their imagination and how easily they understood what it means to embody, or become, an animal, object, or character. Those ideas evolved over many years into the poses in the book, alongside poses I brought into my adult Jewish yoga classes based on the weekly Torah readings and holidays.
GRWR:The beautiful blend of the spiritual and physical come together seamlessly in I AM THE TREE OF LIFE. What do you feel your book offers to youngsters especially now when they have been coping with an unprecedented pandemic?
RMC: Parents of young children are striving to bring grounding, healthy practices into their kids’ lives, especially during this pandemic. Yoga teaches adults and children that we can regulate our own breathing, calm ourselves down when necessary, pay attention to what we are feeling, and to be empowered in our bodies. Children have lost their daily opportunities for movement, so I’ve been thrilled to hear that this book has helped them get moving during this time. I hope that has, in turn, connected them to their spiritual selves and to the world around them as they embody a mountain, tree or a fish.
GRWR:I love how there’s a boat pose to signify Noah’s Ark. Did you have trouble finding poses to correlate to the various stories? Or did you select the stories based on existing poses?
RMC: I have been teaching yoga in a Jewish context for many years, and in my practice I connect the poses to the weekly Torah portion or Jewish holiday wherever there is a meaningful link. I have collected so many poses that fit perfectly with our stories. In fact, I had a tough time choosing which ones to drop to make the book the right length for children!
GRWR:Do you have a particular favorite illustration and if so, why?
RMC: The book is based around the image of the tree, both as a metaphor for our Torah and of our bodies. The cover so perfectly brings those images together with a child coming into Tree Pose against the backdrop of a tree so we can see how our feet are like roots, legs like a trunk, and arms like branches. I also love the way he integrated the Torah stories we are about to read into the Tree of Life while we are forming Tree Pose on the opening pages. I also love the Crescent Moon, because Andre so beautifully captured the sweeping feeling of this pose and the story in Genesis.
GRWR:The book is filled with a variety of wonderful Torah stories. Is your hope that, in addition to wanting to try yoga, children reading your book might also become interested in further Jewish study?
RMC:Yes! My hope is that the short glimpses into the Torah stories will pique a child’s curiosity to know the full stories. Perhaps at a Passover seder, they will hear the Exodus narrative and remember that they tried a yoga pose from that formative story. If they feel like that story is theirs because they embodied it, even better. I hear so many young adults say that they don’t feel Jewish enough, that they didn’t learn enough to feel it’s theirs, or that the Jewish community doesn’t accept them as being fully Jewish. My hope is that our upcoming generation of kids feel like they own their own Judaism. It is not someone else’s tradition that they are peering into. It is wholly theirs to live, learn, and create.
GRWR:I love how at the end of the book you address what’s Jewish about yoga. For those reading who do not yet have the book, what’s your answer?
RMC: Yoga emerges from the Hindu philosophical tradition. Jews have a long tradition of being open to learning and incorporating wisdom from other traditions that surround us (medieval liturgy based on Arabic poetry, piyyut, is another great example). But movement also has a long history in Judaism. Our ancient rabbis discussed how to move our bodies during prayer, recognizing that words are not the only way to pray. One medieval Jewish mystic matched Hebrew letters and vowels with head movements. Other kabbalists envisioned different aspects of God as a chart in the shape of a tree, the Tree of Life, and mapped that chart onto the human body. And Hasids used body movements to enhance their prayer.
So yoga is a practice that Jews are borrowing, but spiritual movement is not new to our people.
GRWR: This is such a feel good, calming read. What other Jewish or non-Jewish children’s books have you enjoyed reading for your own writing inspiration?
RMC: Howard Schwartz and Kristina Swarner’s Gathering Sparks (a Sydney Taylor Award winner) has been such an inspiration to me, inviting children to contemplate a complex spiritual, mystical idea in a way that is both relatable and calming. Their book, Before You Were Born, has that same mystical, whimsical quality. I have also been heavily influenced by Rabbi Sandy Sasso’s work (In God’s Name, God’s Paintbrush and so many others), bringing a depth of spiritual conversation to an ecumenical audience.
GRWR:What else would you like to mention about your experience writing the book?
RMC:In early conversations with Apples and Honey Press, we wanted to make sure that the children pictured in the book would represent the diversity of the Jewish community. They brought Brazilian artist, André Ceolin, to the project and I am overjoyed with the illustrations. Portraying children of color in books does not solve the deep-seated issues we face in the Jewish community or our larger American culture. Yet making sure People of Color are represented in Jewish children’s literature is one way we can show kids they are visible in Jewish life, while showing white children that a diversity of racial and ethnic backgrounds is what Jewish looks like. We can offer the next generation an invitation to connect themselves to Jewish stories and other Jews.Collectively, we can make intentional choices about which stories and images are passed on.
INTERVIEW WITH ANDRE CEOLIN:
GRWR:Congratulations on your great honor!What a pleasure to have you as our guest today, André.
On the very first spread of the book readers see the tree of life pose along with the tree itself representing the Torah. Can you speak to some of the wisdom shown on the different branches of the tree, the preview of stories to come, and how you imagined this particular illustration?
André Ceolin: Both Ann Kofsky, from Behrman House, and Rabbi Mychal have given me the guidelines and important insights for that illustration, coming up with the idea of the tree showing the passages in each branch.
The tree is strong and healthy, and each branch of it shows an image which represents a passage from the Torah. For me it shows that the wisdom from each passage lead us to a balanced, steady and healthy life.
GRWR:Can you please tell us how you created the artwork? Was it done digitally? And what made you choose this color palate? How long did it take to complete the illustrations?
AC: On a piece of paper and using a good pencil, I always start with several small sketches, the size of a thumbnail, for each illustration to be done. In doing so, I experiment several approaches, having a general idea of the drawing structure, without being distracted by the details.
After evaluating all the miniature sketches, I shoot some photos of the best ones and then, start to work at the computer in a bigger and more detailed version, which will be sent later to the editors and authors for evaluation .
Once approved, I get started with the final version of the illustration, more elaborate and colorful. This step is made digitally as well.
Regarding the color palates, each drawing has its own one in order to express the feeling and the time period in which the story takes place.
Normally, it takes from 2 to 4 days for each illustration, from the sketches to the final version, depending on its complexity.
GRWR:Do you have a particular favorite illustration and if so, why?
AC:The illustration with Jonah inside the giant fish is my favorite, because it was really fun to illustrate that monster-fish. Besides, the image shows some tension, at the same time that it shows hope.
GRWR: You made all the poses look so easy and fun. Did you have to learn yoga to be able to illustrate this book?
AC:Yes, I had to learn a little bit about Yoga, despite not being able to do many of the poses (maybe one day I will take some Yoga classes). Rabbi, through her feedback helped me a lot to correct and make right each of the poses illustrations, as shown in the book.
GRWR:Who are some of the illustrators who have influenced your art?
AC:There are many artists whose work I admire. Stephen Michael King, Rodney Mathews, Rebecca Dautremer and Edivaldo Barbosa de Souza are some of the artists who inspire me.
GRWR:Is there anything else you’d like to mention about your experience illustrating this book?
AC:Illustrating The Tree of Life was a very rich and enjoyable experience in which, in addition to learning about yoga, I learned about the wisdom of the Torah and Jewish culture.
GOODREADSWITHRONNA THANKS YOU BOTH SO VERY MUCH FOR YOUR THOUGHTFUL REPLIES!
You can find Mychal getting into yoga poses while teaching, writing, reading Torah, and even leading Shabbat services at Congregation Sha’ar Zahav in San Francisco. Mychal is both a Reconstructionist and Reform rabbi, earned a masters and teaching credential from Harvard Divinity School, and is a certified yoga instructor, fusing Jewish spirituality with movement through yoga. She co-edited Struggling in Good Faith: LGBTQI Inclusion from 13 American ReligiousPerspectives (SkyLight Paths, 2016) and I Am the Tree ofLife: My Jewish Yoga Book (Apples & Honey Press, 2020) is her first children’s book. She leads yoga sessions that are steeped in Jewish thought and prayer, melding breath and posture practice with Jewish ideas. Her interests span Jewish magical texts, interfaith dialogue, Jewish issues of inclusion, and teaching Judaism as a spiritual path.
Clickherefor my Facebook page where people can find me and yoga opportunities for their kids.
André Ceolin is a self-taught illustrator from Brazil He started his first attempt at sketching around the age of four when his father brought home some reams of paper from work. It was in that moment that he fell in love with painting and drawing. André initially got a degree in pharmacy at UNIMEP. Though he worked in this field for several years, his artistic passion was too strong to ignore. As a young father, he was surrounded by beautiful children’s books and was always drawn to the spontaneity of the imagery. He then decided to switch gears and studied at School of Visual Arts in NYC, Melies, and Escola Panamericana de Artes to develop a signature look and learned new illustration techniques. He illustrated his first book “Um Dia na Vida de Micaela” de Cauê by Steinberg Milano, published by Editora Roda & Cia in 2009. Ever since, he has illustrated over 20 books by great publishers in Brazil such as Roda & Cia, Saber e Ler, SM, Moderna, FTD, Editora do Brasil, Editora Abril. He loves working with books targeting juvenile readers from the very young age to middle-grade and young adult. When not illustrating, he creates toys and small sculptures for his son. He also enjoys bicycling, playing his guitar, and, singing. Visit his websitehere.
It’s Day One of theCHICK CHAT BLOG TOURas well as its book birthday! Peep! Peep! GRWR is so happy to participate and celebrate the hatching. Please enjoy the following interview with Chick Chat author-illustratorJanie Bynum and her insights on this fun new read-aloud picture book for children.
CHICK CHAT SUMMARY:
Friendship comes in all shapes and sizes.
Peep, peep, peep! Baby Chick has a lot to say!
Everyone in Chick’s family is too busy to chat with her. But when chatty baby Chick adopts a large egg—she finally finds a friend who is a good listener. When her egg goes missing, Chick is heartbroken, until she finds that it has hatched into a brand-new friend!
INTERVIEW WITH CHICK CHAT AUTHOR-ILLUSTRATOR JANIE BYNUM
GoodReadsWithRonna:Hi Janie! Welcome to the blog. I’ve got lots of questions for you today. In your author bio on the book’s copyright page, you mention how talkative you were as a child. Can you expand on this and how it influenced creating your main character Baby Chick?
Janie Bynum: Being an inquisitive, talkative, and determined child, I’m sure I tested the patience of my family—and quite a few teachers. Baby Chick and I share all of those personality traits—as well as being a fairly self-reliant youngest sibling. As I wrote and revised Baby Chick’s story, this very talkative youngest sibling emerged. So I ended up writing from a perspective (with a voice, as it were) that I understood as a kid.
In early versions of the manuscript, Baby Chick actually spoke instead of only peeping. But, I ultimately chose to have her peep in such a way that sounds like she knows exactly what she’s saying (and she does). This way kids can interpret what she may be saying—either inferred by the illustrations or by whatever words they imagine for her.
GRWR:Which came first, the Baby Chick character design or the story?
JB:The Baby Chick character art came first.
GRWR:It was funny how everyone in Baby Chick’s family is unaffected (to the point of almost ignoring her while they’re otherwise occupied) by her nonstop peeping while she carries on joyfully by herself. Is there something to be learned from her sheer self-contentedness?
JB:Possibly … by enjoying our own company, not being entirely dependent on others to “make” our happiness for us. Baby Chick is creative and makes her own fun; and, in doing so, she discovers something to nurture, which ultimately hatches into a friend who listens.
GRWR:I was absolutely convinced Baby Chick had found a rock not a big egg. Was this deliberate?
JB: No. The giant Galapagos tortoise’s egg—which I used for reference—looks very much like a round stone. Only at first, when she hasn’t fully unearthed the object, does Baby Chick not know that it’s an egg. But once she uncovers it, she realizes it’s some sort of egg—maybe not a chicken egg because it’s so round. But Baby Chick either doesn’t notice the difference or doesn’t care. It’s an egg without anyone to tend it, so she decides to be its guardian.
GRWR:I’m curious why you decided to make the baby turtle a quiet character rather than one “with a lot to say” like Baby Chick?
JB:I could’ve made the baby turtle/tortoise even more talkative than Baby Chick, which would’ve been funny. But I wanted Baby Chick to be rewarded (for all her nurturing and protection of the egg) with a friend who likes to listen. It’s also a sort of celebration of the yin/yang relationship, how seemingly opposites are actually complementary (in this case extrovert/introvert).
GRWR:Do you see Chick Chat as primarily a friendship story or did you feel there were other themes you wanted the book to explore?
JB: The friendship theme is wrapped around a story about self-sufficiency; and, as you noted earlier, self-contentedness. So, it really has two main themes.
GRWR:What medium do you work in when creating your artwork?
JB: I used a combination of digital media and traditional watercolor, which is the way I generally work. For Chick Chat art, I worked on my iPad (in an app called Procreate) and in Photoshop on my Mac computer with large monitor. I used traditional watercolor for some areas, and added real paper and paint textures (with Photoshop layers) to give more depth to some of the digital color.
GRWR:As someone who began telling stories first visually, do you usually create your dummy with thumbnails and then add the prose later?
JB: I usually have a character in mind first that I must draw so that I can get to know them. A seed of a story germinates as I’m drawing. As I start writing the story, I sometimes create a simplified mind map to look at arc, action, and direction possibilities. Then I write some more. And I revise. And then I revise the text some more.
When I feel like I have a fairly finished manuscript, I start thumbnails. Inevitably, the text changes as I work on thumbnails and rough sketches. So, as I create the rough dummy, I work back and forth between words and pictures until I feel confident that the story (both visual and written) is ready to submit to my agent.
GRWR:I enjoyed a lot of the little unexpected details you included in the illustrations like Baby Chick’s grasshopper friend (or cricket), and the punny titles of the books Sister is reading. Did you do this in all the books you illustrate even if you didn’t write them?
JB: Thank you. Since I write/illustrate for a fairly young audience, I try to add details that older readers (especially adults) will enjoy. While I don’t include a small observer character (who sometimes participates) in all of the books I illustrate and/or write, I have done so in a few. In Otis, which I wrote, a red bird appears in many of the pictures; and, in Porcupining, written by Lisa Wheeler, a grasshopper observes and sometimes participates.
GRWR:What do you do to spark your creativity? Is your process to work daily, inspired or not?
JB: In addition to creating children’s books, I work as a creative director and graphic designer (outside of children’s publishing), so creative problem-solving is part of my day every day. But, one of the things I do as a creativity spark—at least several times per week—is just draw for no reason at all, with nothing in mind until pencil meets paper (or stylus meets iPad). Many times character ideas come from these sessions.
GRWR:How long did it take to complete Chick Chat from the idea stage to the final book we can order from bookstores today?
JB: Roughly two years: story and book dummy, spring 2019; art delivered January 2020; published book January 2021.
GRWR:Who are some of your current kidlit illustrator faves and why?
JB: I have soooo many favorites, and for so many different reasons.
I love the color and stylized work of Felicita Sala. I adore the haunting stylized art of illustrators like Isabelle Arsenault and the cheery whimsy of Louise Gay. Carter Goodrich’s dogs are divinely humorous, and he possesses quite a deft hand with paint. With Sophie Blackall’s art, I’m inspired by her use of color, texture, and pattern. Her work is retro and contemporary, both at the same time.
Oliver Jeffers’ composition on the page (including an amazing sense of negative space) and his sensitive use of color and line inspires me. Matthew Cordell’s spontaneous linework and non-complicated watercolor embodies a spontaneous loose feel that I aspire to in my own work.
I like Ryan T. Higgins’s ink line coupled with his graphic use of shape and color (and, of course, his humor); the gorgeously strange art of Mateo Dineen; and the Matisse’esque art of Olivier Tallec.
GRWR:What’s in the works for your next book?
JB:A very creative beetle is the hero of my current work-in-progress. Also, I’m considering creating something for Gary the Worm to star in. (To find out who Gary is, visit my Instagram @janiebynum.)
GRWR:Is there anything else you’d like to add that perhaps I haven’t addressed?
JB:I’d like to let educators (including parents and grands) know that they can find Chick Chat activities at my website (janiebynum.com) and atnorthsouth.com/resources. And last, but not least, thank you for including me in your blog!
GRWR:It’s been such a pleasure being the first stop on your blog tour and getting to know you and Chick Chat better. Thanks for your terrific answers!
Janie Bynum grew up in Texas and graduated with a BFA in graphic design with an emphasis on illustration. As an author/illustrator, she has created many lovable characters and stories for younger children. Her work has been recognized as a Junior Library Guild Selection. She loves to travel and experience other cultures, drawing inspiration from the people, landscape, and cuisine. Known to her friends as a bit of a nomad, Janie lives in a nearly-100-year-old storybook house in southwest Michigan—for now.
Come join me on Crust Boulevard for a visit inside the fridge where Lady Pancake and Sir French Toast live. If you haven’t read the previous three books in this hilarious series, that definitely won’t detract from your enjoyment of the popular food friends’ fun and frolic.
In Short & Sweet, the latest installment from author Josh Funkand illustrator Brendan Kearney, time may be running out for Lady Pancake and Sir French Toast. The meal-worthy mates have discovered they’re going stale! Fortunately, their new friend, Baron von Waffle, suggests they “check out Professor Biscotti’s brochure,” for what could be a cure.
Lady Pancake and Sir French Toast decide the professor’s despoiling machine is what’s needed to save them so, accompanied by the Baron, they head to the laboratory.
In just minutes the decaying duo gets zapped back to health. However, one slight glitch in Professor Biscotti’s device has caused the food friends to shrink down to kid-size. They also do not seem to recognize their pal Baron von Waffle and dash off in fear.
The chaos that’s occurred has caused the Baron’s feelings to be hurt. He’s worried Lady Pancake and Sir French Toast are so scared of him that he’ll lose their friendship. While the professor works on fixing her despoiling machine, Baron von Waffle works on a way to lure his pals back to the lab.
Meanwhile, the frightened food first finds safety at a nearby pasta playground and then a local library. I love how Funk, a huge fan of libraries, has successfully fit one into his story. In a way, it’s a love of reading that leads Lady Pancake and Sir French Toast back to Baron Waffle. He believes he’s come up with a clever way to entice the two breakfast food buddies back to the lab and hopefully, with Professor B’s help, maximize them back to friend-size! Will the teeny twosome be restored to grown-ups? Well, I certainly won’t be a spoiler!
The premise of this picture book is such fun and adds a new dimension to the zany, adventure-packed Lady P and Sir FT collection. Once again, the talented team of Funk and Kearney have brought us a read-aloud that starts its rollicking from the very first spread. Filled with wordplay that easily rolls off the tongue, Short & Sweet can also boast engaging, well-metered rhyme in a fast-paced story that kids will want to hear over and over. Kearney’s high-spirited art is bursting with visual treats. You’ll find cucumber footrests at Professor Biscotti’s lab, punny book titles in the library, and perhaps my fave, Juice Springsteen sporting his trademark headband above his brow while rockin’ out atop a pot pie in the final spread. There’s lots to love in book #4 so get a copy, get comfy, and get ready to be entertained. Just remember not to read on an empty stomach!
Reviewed by Ronna Mandel
Scroll down for more info about Lady Pancake & Sir French Toast: SHORT & SWEET
Josh Funk is the author of books like the Lady Pancake & Sir French Toast series, the It’s Not a Fairy Tale series, the How to Code with Pearl and Pascal series, the A Story of Patience & Fortitude series, Dear Dragon, Pirasaurs!, Albie Newton, and more.
For more information about Josh Funk, visit him at www.joshfunkbooks.comand on Twitter/Instagram/Facebook at @joshfunkbooks.
Clickhereto order a copy of Short & Sweet. If you’d like other books in the series, click here.
Disclosure: Good Reads With Ronna is now a Bookshop.org affiliate and will make a small commission from the books sold via this site at no extra cost to you. If you’d like to help support this blog and its team of kidlit reviewers, please consider purchasing your books from Bookshop.org using our affiliate links above. Thanks!
Greta is a little girl who lives in a beautiful forest threatened by Giants. When the Giants first came to the forest, they chopped down trees to make houses. Then they chopped down more trees and made even bigger homes. The houses grew into towns and the towns grew into cities, until now there is hardly any forest left. Greta knows she has to help the animals, but how? Luckily Greta has an idea that will lead to the Giants and the animals working together in harmony. An additional section at the back explains that in reality the fight against the giants isn’t over and Greta needs the reader’s help.
This book has been printed sustainably in the UK on 100% recycled paper. By buying a copy of this book, you are making a donation of 3% of the cover price to Greenpeace UK
INTERVIEW WITH ZOE PERSICO
Please tell us how you came to be a picture book illustrator?
Growing up I had many artistic influences that led me to go into what I do today, especially in books. I struggled with reading, but the illustrations always kept me eagerly invested and inspired. I originally wanted to be an animator, but quickly figured out that illustrating was my passion and wanted to figure out how I could achieve it as my career. I returned to my love for children’s books and knew I wanted to create works of art that would help others like they did for me. With family, friends, my partner, and educators who always supported me every step of the way I signed onto my current agency, got an early jump start into my career, and graduated college. I’ve been working as a freelance illustrator for over five years now and happily receiving great projects such as Greta and the Giants.
What medium/technique did you use to create the illustrations in GRETA AND THE GIANTS and how did the metaphor of the giants as symbols of corporate greed influence your choices?
I use Photoshop CS6 and a Wacom Cintiq Pro 24 to create my illustrations, though I am heavily influenced by traditional materials and try to capture the magic of them through digital means. I use custom brushes that emulate watercolor, gouache, colored pencils, and so on. Before starting the final art for Greta and the Giants I knew that I really wanted to push some new painting techniques, so I practiced using traditional materials beforehand to figure out how I can capture them digitally.
The giants were quite a challenge! I needed to figure out how to portray the giants in a fantastical, but realistic way. It would have been too easy to use stereotypes as a crutch for their design and using certain physical traits to show how “ugly” they are is harmful because that’s telling readers having those traits are negative. I thought that illustrating them mostly from perspectives of Greta and the citizens of the forest, such as them looking up and only seeing their shoes and pants as well as not being able to see their faces as clearly due to the massive distance between them, was a perfect and simple way to achieve that the giants “have their heads in the clouds” more than anything else. They realize that they are causing harm and want to do better and I wanted to make sure their designs were an easy transition to the last spreads of the book as well. They have always worn normal clothes just like everyone else and their size doesn’t change. They are still giants! The change comes into how the new compositions show a better connection and understanding between them and the forest dwellers.
I was taken immediately by the gorgeous jewel tones in your palette. Please explain the decision behind that.
Thank you! I had a lot of fun with this palette for this book. When the design team told me they really wanted to a painterly look and using light for color and mood contrast I was immediately excited. I’ve always tried to push these elements in my personal work and I knew I wanted to push myself even more for this project. Since I have been painting traditionally on the side more, I’ve found new color palettes that I wanted to emulate in Greta and the Giants. I used warm tones for heavily lit areas and went with cool tones for shadows. I mixed colors on top of each other like I would with watercolors to keep interest and connection in each area. I have been in love with using a very bright candy red lately and knew it would be the perfect accent color in a sea of multiple shades of green. For the last spread I wanted to go with a sunset palette to help end the book on a warm and uplifting note. Overall, I would say the goal for this book was to have a mostly nature-inspired palette (greens, browns, oranges) with accents of fantasy-inspired colors (pinks and blues).
What inspired you about this particular story?
Throughout the years I’ve been finding ways to alleviate my carbon footprint on the planet as best as I can and having the chance to work on this project was right up my alley. I was inspired on now only how I can help show others on what we can do to help fight climate change, but to come together and speak up against “giants” by the power of your voice. I hope the illustrations in Greta and the Giants inspire children to ask questions. I hope it inspires parents and guardians to teach them about what is happening. I hope it inspires adults to speak out and vote.
Do you have a favorite illustration in the book?
Yes! Funny enough my favorite illustrations are the spreads that include the city. I rarely paint urban subjects and it was a fun challenge to depict what the giant city could look like from a distance. I’m proud of how it turned out!
I also enjoy illustrating animals as well. Any time I got to paint the fox was always fun for me!
What was the biggest challenge of creating the art for this picture book that’s dealing with a serious topic aimed at younger readers?
I would say finding the right visual balance of fantastical and visually showing a depiction of a real life issue. I wouldn’t be doing the message justice if I went a super happy and bright route for the illustrations. I want to show the dark sides of what’s happening to our home and make it easy to readers to understand that. I also wanted to show signs of hope and warmth as well. I use bright and inviting colors and character designs that young readers can gravitate towards. I paint light shining down on characters such as Greta to show that she is a beacon of hope. It’s little things like this that I add in my illustrations to help readers understand that things are serious, but we don’t have to be kept in the dark. It’s amazing how color and light and design choices can naturally click in your brain to know when something is “relaxing” or “melancholic” or “frustrating”. Illustrations are so important and I love that I get to create them.
As the giants learn about the negative impact of all their building and polluting, they begin to take on less fierce qualities. Was this intentional?
Absolutely. As I mentioned in the previous question regarding the giants, I really wanted to portray the giants in a way that they aren’t so different from the rest of the forest dwellers. Earlier spreads of the book emphasize how tall they are, how hard it is to see their faces from far away, and so on. There’s a disconnect and the giants aren’t aware of the damage they are causing. Towards the last spreads you can see their faces better and their postures and expressions are much more approachable. They are still giants, but there is now a more positive relationship between them and the folks living below them. I am hoping our real life “giants” can listen and start a positive dialogue with us to a better and healthier future.
Which illustrators have most influenced you as an artist?
I have so many! Some illustrators that have influenced me include Amélie Fléchais, Elena and Olivia Ceballos, Yvan Duque, Matthew Forsythe, Rebecca Green, Robin James, and many many more.
Thank you Zoe for your thoughtful answers. I hope everyone picks up a copy of Greta and the Giants to appreciate the beautiful artwork you’ve described in the interview and to see how wonderfully it complements the story.
• FIND OUT MORE ABOUT ZOE ON HER WEBSITE. • PUBLICATION DATE IS NOVEMBER 19 BUT YOU CAN PRE-ORDER A COPY HERE TODAY. • CLICK HERE FOR A HELPFUL DISCUSSION GUIDE.
Visit the below bloggers for reviews and other Greta and the Giants related coverage.
Good Reads With Ronna is delighted to be part of the Dear Justice League blog tour celebrating this week’s launch of a rollicking good read and recommended middle grade graphic novel from DC Zoom.
The premise is a simple yet oh so satisfying one. Fictitious kids from all over America pen Dear Abby-type letters to their fave superheroes and then lo and behold, they get replies. Not what you were expecting, right?
Middle grade readers, reluctant and struggling readers as well as fans of graphic novels will enjoy every single page of Northrop’s and Duarte’s fast and uproarious read. It’s playful and action-packed, and who doesn’t love a story where there’s never a dull moment? Northrup delivers dynamic dialogue that pairs perfectly with Duarte’s art. His hilarious illustrations, full of every facial expression possible, jump off the page and pull you in. They deserve to be looked at multiple times.
I got into the novel quickly, intrigued by the first question posed to none other than my childhood hero, Superman. Wondering if the Man of Steel had ever messed up, the letter writer is shown having botched up his attempt at an invention. And while you’d think heroes are especially busy saving the day in multiple ways with no time for correspondence, Clark Kent’s alter ego surprises young Ben Silsby with an answer. Texting, flying and superhero-ing however do not safely go together leading to a hilarious string of close calls demonstrating that it’s not just Kryptonite that can bring him down.
I especially loved having the chance to meet seven other members of the Justice League, each presented in their own chapter addressing a particular issue raised via email, text or snail mail. Hawkgirl, Aquaman, Wonder Woman, Flash, Green Lantern, Cyborg, and Batman all make appearances and make you want to spend more time with them. The Dear Justice League questions range from silly (does Hawkgirl eat small mammals, does Aquaman smell like fish) to those that will resonate with the targeted age group about bullying, moving to a new school, being perfect, fitting in, friendship and teamwork.
Another aspect of the book that worked well was the thread running through the entire story about an invasion of evil, insect-like Shock Troopers from the planet Molt-On. Here’s where I was first introduced to Hawkgirl and was impressed by her sense of humor though a bit wary of how much soda she seemed to consume. But most of all, I enjoyed seeing the superheros hang out at HQ, chatting together while revealing snippets of their characters. When they ultimately fought off the Shock Troops through a well coordinated team effort, I felt happy and eager to read more about each of them individually and as a league. Next up for me is definitely Superman of Smallville, available 9/3/19.
The start of a new school year is an ideal time to share this graphic novel showing sometimes serious, yet often tongue-in-cheek adventures that demonstrate how even superheroes have the same vulnerabilities kids have. They may fight foes but are far from perfect. So head to your local independent bookseller to buy a copy of Dear Justice League for your kids because these graphic novels are bound to win new DC superhero fans and delight old ones.
AWAY WITH WORDS: The Daring Story of Isabella Bird Written by Lori Mortensen Illustrated by Kristy Caldwell (Peachtree Publishing; $17.95, Ages 6-10)
Before Nellie Bly or Amelia Earhardt there was Isabella Bird and, thanks to this eye-opening new picture book biography, Away With Words: The Daring Story of Isabella Bird,children can read about what impressive inroads this English explorer made at a time in history when a woman’s place was in the home not out globetrotting around the world, and writing about it to boot!
This “unlikely candidate for adventure,” who never felt well as a child, was born in the Yorkshire countryside in 1831. Isabella Bird suffered from a multitude of ailments and rarely left the house. That worked for awhile because, according to Victorian societal norms that she would eventually challenge, “Young ladies wore dresses. / Young ladies didn’t go to school. / Young ladies stayed home.” Countless doctors couldn’t diagnose her with anything until one doctor recommended she get some fresh air. Her father took Isabella out with him on his horse and, with his encouragement, she made discoveries that would forever change the course of her life. “Out in the wild, Isabella forgot about her aches and pains. / She breathed in new ways to see and describe everything around her.”
Captured beautifully by Caldwell’s spread below, letters from relatives abroad and other news from overseas sparked a flame in Isabella. She felt deep inside that travel would feed her soul and she yearned for the possibilities it would provide but some days she could barely get up. The tide turned for the better when her doctor suggested a sea voyage and her parents agreed.
She boarded a mail steamer for Nova Scotia and from then on there was no looking back for this intrepid young woman. Her red leather notebook accompanied her wherever she went. I love how Mortensen weaves quotations of text from Bird’s own published books wherever it adds atmosphere to the story. Caldwell’s colorful illustrations pair perfectly with those lines. One of my favorites is, “There was a small bed with a dirty buffalo-skin upon it; I took it up and swarms of living creatures fell out of it …”
Her first book, The Englishwoman in America, was published in 1856, smack in the middle of Queen Victoria’s reign. But when her father passed away Bird chose to end her explorations. That ultimately led to a flare up of her ailments and an onset of doldrums that, at her sister’s urging, could only be allayed by journeying across five continents. It took grit and guts and bravery to gallivant solo around the world to myriad destinations lacking in creature comforts, but Isabella persevered. Thanks to her detailed record keeping of all the places she visited, the nine additional books she wrote became bestsellers. People craved reading about the exotic locales and peoples that they’d never see in their lifetime whether that be climbing up Kilauea volcano in the Sandwich Islands (Hawaii), trekking across the dangerous frozen Persian “desert at the roof of the world,” or befriending a “notorious outlaw.”
AsMortensen’sstory vividly demonstrates, the world was indeed Isabella’s home so it’s no surprise that in 1892, Bird was the first woman to ever be inducted into the Royal Geographical Society of London and a year later was presented to Queen Victoria. In 32 pages of lyrical prose, Mortensen shows young readers the personal growth and happiness that can come from travel and exposure to a vast range of cultures. Caldwell’s artwork includes just the right amount of soaring spirit a name like Bird implies.
Picture book biographies, when done well, provide a much needed window on the world of important people from the past that we might ordinarily never hear or read about. Away With Words: The Daring Story of Isabella Bird, does that and more. It offers inspiration and a role model for children who, long after Women’s History Month has ended, will no doubt want to seek out Bird’s impressions by turning to her original books to learn more about this trailblazer’s 19th century daring journeys. The back matter including an author’s note, a timeline of Bird’s travels and publications, Bird’s text quotations, and a bibliography make this nonfiction book ideal for both home and school. In fact, I’d give it as a gift to a child along with a journal to get them started on documenting their own travels, even if that’s just an outing to the zoo or a trip to another city.
Reviewed by Ronna Mandel
Visit other stops below on this enlightening blog tour from Peachtree Publishing:
Welcome to day three! As one of the bloggers participating in the Sydney Taylor Book Award 2019 Blog Tour, I’ve had the privilege to interview author Rachel Lynn Solomonabout her terrific debut novel You’ll Miss Me When I’m Gone, an honor award winner in the teen readers category. Find out more about this week of enlightening interviews at the Association of Jewish Libraries website and at the official Sydney Taylor site. The full blog tour schedule is posted on the AJL blog and below if you scroll down following the interview.
PUBLISHER’S SUMMARY OF YOU’LL MISS ME WHEN I’M GONE Eighteen-year-old twins Adina and Tovah have little in common besides their ambitious nature. Viola prodigy Adina yearns to become a soloist—and to convince her music teacher he wants her the way she wants him. Overachiever Tovah awaits her acceptance to Johns Hopkins, the first step on her path toward med school and a career as a surgeon.
But one thing could wreck their carefully planned futures: a genetic test for Huntington’s, a rare degenerative disease that slowly steals control of the body and mind. It’s turned their Israeli mother into a near stranger and fractured the sisters’ own bond in ways they’ll never admit. While Tovah finds comfort in their Jewish religion, Adina rebels against its rules.
When the results come in, one twin tests negative for Huntington’s. The other tests positive.
These opposite outcomes push them farther apart as they wrestle with guilt, betrayal, and the unexpected thrill of first love. How can they repair their relationship, and is it even worth saving?
From debut author Rachel Lynn Solomon comes a luminous, heartbreaking tale of life, death, and the fragile bond between sisters.
INTERVIEW WITH RACHEL LYNN SOLOMON
Good Reads With Ronna: Please tell us what the source of your inspiration was for writing You’ll Miss Me When I’m Gone (Simon Pulse, $17.99 + 12.99, Ages 14+)?
RLS: Thank you for having me on your blog! As a kid, I remember watching a couple TV shows that centered on genetic testing, and the idea of being able to know your fate, to an extent, stuck with me. Years later in early 2014, I was doing some random Internet research, looking for something that might spark a book idea. I landed on a page about Huntington’s disease, which I knew a little about. What stood out to me was the fact that a child of a parent with Huntington’s has a 50/50 chance of inheriting it, and I wondered: what if twin sisters received opposite results?
GRWR: Your bio says you write about ambitious, complicated, sometimes unlikable girls who are trying their best. Can you please expand on that in reference to your main characters, Adina and Tovah, the 18 year-old fraternal twin sisters who do not get along?
RLS: Absolutely! I firmly believe we don’t need to like the characters we read about — we just need to relate to them. Likable characters, in fact, are often quite boring to read about. Rule-following characters who always make the right decisions, who never hurt anyone’s feelings…not realistic, for one, and not as interesting as a reader or writer. Furthermore, in fiction, male characters are often given much more “permission” to be unlikable. Their flaws are more easily forgiven.
In YMMWIG, Adina and Tovah aren’t bad people, but they make mistakes, they hurt each other, and they occasionally sabotage themselves. But they’re trying, and they’re relatable (I hope!), and at the end of the day, those are the kinds of characters I’m always going to gravitate toward.
GRWR: Do you share any qualities with your main characters aside from Adina’s love of Siren red lipstick?
RLS: There’s a bit of myself in all the characters I write. While I don’t play viola like Adina, I grew up playing piano and guitar, and in high school, I was a stereotypical overachiever like Tovah.
GRWR: What are your thoughts about the need for Jewish authors to write about more than just Holocaust stories despite the need for those to continue being told? And what kinds of books would you like to see written?
RLS: My major thought about this is: YES. We need stories about all kinds of Jewish experiences. I’ve mentioned this in other interviews, but growing up, I truly believed we only had one story to tell, and that story was the Holocaust. And that’s just devastating, to think your entire culture can be summed up by a tragedy. It’s why it took me so long to write Jewish characters of my own — while YMMWIG was my first published book, it was my fifth completed manuscript since I decided to get serious about writing. It was also my first with Jewish characters.
I would love to see more historical novels featuring Jewish characters that don’t center on the Holocaust. IN THE NEIGHBORHOOD OF TRUE by Susan Kaplan Carlton, which comes out in April, is a great example of this, and I highly recommend it! I’d also love to see more intersectional Jewish stories like YOU ASKED FOR PERFECT by Laura Silverman, coming out in March, and COLOR ME IN by Natasha Diaz, coming out in August. Aside from that, more contemporary stories about Jewish teens simply living their lives while also being Jewish — whatever “being Jewish” means to them.
GRWR: Do you feel that books featuring Jewish protagonists and teens tackling illness fall under the diverse books heading since they are so underrepresented and often stereotyped?
RLS: This is a weighty topic, and one I’m still grappling with. Judaism occupies an interesting space in diversity discussions. I’m keeping a list of 2019 YA novels by Jewish authors and with Jewish protagonists, and I have only 14 books on that list. It’s so underrepresented in YA, and yet I’ve had a trade review insinuate Judaism isn’t diverse. Jewish friends writing Jewish characters have asked me whether their book “counts” as diverse. Conversely, one review told me I made my characters Jewish “for diversity points.” To me, Jewish books are diverse books, and I plan to continue advocating for them in the book community.
GRWR: Your YA novel tackles a tough topic of a mother slowly succumbing to Huntington’s disease as her teen daughters witness the decline. Also, early on in the story, one of the twins will learn after genetic testing, that she will get the disease, too. Your second novel also deals with a character needing a kidney transplant. What compels you to write about characters coping with illness?
RLS: I’m drawn most to topics that interest me — with YMMWIG, I wanted to learn more about Huntington’s disease and genetic testing, and with OUR YEAR OF MAYBE, which deals with the aftermath of a kidney transplant, I was curious about organ donation. Curiosity is a huge part of my writing process. My background is in journalism, and I love research, and writing is such a magnificent way to learn more about the world.
With regard to illness, specifically, I wanted to write characters who are not defined by their illness. In YMMWIG, Adina and Tovah’s mother is suffering from Huntington’s. It was important to me that Huntington’s was not her sole defining characteristic. She enjoys her job as a teacher, old movie musicals, and knitting, and she has a meet-cute backstory with the twins’ dad. In OUR YEAR OF MAYBE I focus more on the aftermath of the transplant and how it affects the two protagonists’ relationship. I aim to write sensitive portrayals of illness where the illness is a piece of the story but not the entire story.
GRWR: Of the two sisters, Tovah is the practicing Jew who keeps kosher, studies Torah and observes Shabbat along with her parents. It was encouraging to read a YA novel featuring Jewish main characters and their perceptions navigating life in a predominantly non-Jewish school and world. Was this your experience too?
RLS: Thank you! Yes — I was one of only a handful of Jewish kids in my Seattle suburb. I actually don’t remember meeting other Jewish kids outside of temple until middle school. And it wasn’t until college that I found more of a Jewish community — I took a year of modern Hebrew, I joined Hillel, and for a while, I attended services every Friday. These days, I am more secular, but I’m happy to say I have close Jewish friends for the first time in my life, which I’ve realized is so incredibly important, especially in a world that often makes us feel like outsiders.
GRWR: Adina can be cruel, jealous, socially aloof and manipulative, often using her beauty to control guys. Is it easier to write a more likeable character such as Tovah or one who’s not so likeable?
RLS: That’s a great question. I’m not sure what this says about me, but Adina was much easier to write than Tovah! It might be that I’m more similar to Tovah, so writing Adina allowed me to get more creative. To this day, her voice is the clearest of any main character I’ve written.
GRWR: Tovah is a neophyte when it comes to sex while Adina has been sexually active since age 14. Tovah myopically dreams of attending Johns Hopkins to become a surgeon while Adina dreams of playing viola in an orchestra. One incident four years earlier has shattered their tight bond. Sisters yet complete opposites and strangers. What would they or anyone for that matter have to do to become close again and repair the wounds?
RLS: I’ve never experienced a rift quite like theirs, but my sister and I fought constantly growing up. It’s hard to admit you did something wrong, but I think that humility is the only way to at least begin to repair a broken relationship. I’m not sure if it’s something that gets easier as we grow up and grow older, but I know it’s especially difficult as a teen.
GRWR: The twins’ story is told through alternating POV which works so well. What do you like about this approach and what other YA novels using this dual POV have you enjoyed?
RLS: Thank you so much. I felt strongly that this was the only way the book could be told — each sister is a full person but only half the story. It was the same with OUR YEAR OF MAYBE. The book explores the aftermath of a kidney transplant, complicated by the fact that the donor is in love with the recipient. The book doesn’t work unless we have both POVs and understand both characters, whose arcs are so closely entwined. Some other dual POV books I love: I’LL GIVE YOU THE SUN by Jandy Nelson, JUST VISITING by Dahlia Adler, HOW TO SAVE A LIFE by Sara Zarr.
GRWR: I found it hard to say good-bye to Adina and Tovah. How do you feel upon completing a book?
RLS: It’s been an adjustment! In the past, my manuscripts felt like living documents — I could open one up and tweak a sentence any time I wanted. But now, the book gets to a point where I have to be done messing with it. It’s hard for me to say goodbye, but it’s heartening to know that the book is done because it’s going out to readers who will be able to experience it for the first time.
For anyone else who’s interested, I wrote a “five years later” short story about Adina and Tovah that originally went out as part of a preorder campaign. It’s available on my website here for anyone to read: https://www.rachelsolomonbooks.com/extras/. There are some sad moments, but I hope it provides a bit of additional closure!
GRWR: What other irons do you have in the fire?
RLS: My second book, OUR YEAR OF MAYBE, came out last month, and I have two more YA novels contracted through Simon Pulse. My third, a romantic comedy, will be out in the summer of 2020. It takes place in 24 hours on the last day of senior year, and follows two rivals who realize, as they reluctantly team up to win a senior class game, that they might be in love with each other. While it’s lighter than my first two books, the two main characters also confront anti-Semitism in a way I haven’t written about before.
GRWR: Is there anything I didn’t ask that you’d like to mention or call to readers’ attention?
These questions were wonderful — thank you for again having me!
2019 SYDNEY TAYLOR BOOK AWARD BLOG TOUR
SUNDAY, FEBRUARY 10, 2019
Emily Jenkins and Paul Zelinsky, author and illustrator of All-of-a-Kind Family Hanukkah Sydney Taylor Book Award in the Younger Readers Category At Out of the Box at the Horn Book
While I never tire of alphabet books, I do see quite a lot so honestly, the more distinct, the better to catch my eye and then keep me reading. Owls Are Good at Keeping Secrets: An Unusual Alphabet fits that bill to a T. Tt: Toads are terrific at tongue twisters. See what I mean?
O’Learydoesn’t waste a minute pulling readers into her adorable, smile inducing descriptions for every animal she’s included. In fact, I bet she had a blast coming up with all their different personality traits and quirks, helping to set this picture book apart from others. Some will catch you off guard: Dd: Dragons cry at happy endings. I love that there are no flames involved, just pure emotion and Pp: Penguins love a big family get-together.Who knew they were such party animals? My fave, the one that gets me laughing out loud, is Rr: Raccoons are always the first to arrive for a party because that sounded just like me. Which letters will resonate with your child? Will it be Ww: Wolves don’t like being told to smileor possibly Yy: Yaks giggle at their own jokes? Find alligators, elephants, meerkats and many more and use the often funny, thought-provoking descriptions to start a conversation about what makes everyone unique.
The choice of animals and their clever corresponding stories will entertain even those who feel they’re too old for alphabet books. Grant’s charming artwork in a warm, muted color scheme with ample white space allows the focus to center on the endearing animals and their actions. From photograph-taking foxes in the field with a parent waiting in the den below to a hedgehog observing the night sky, there is something for everyone in Owls Are Good at Keeping Secrets, an especially appealing approach to learning the letters A-Z.
IF YOU WANT TO FALL ASLEEP THE BLOG TOUR 2018 Written by Jackie Azúa Kramer Illustrated by Lisa Brandenburg (Clavis Books; $17.99, Softcover $9.95, Ages 3 and up)
Short summary ofIf You Want to Fall Asleepby Jackie Azúa Kramer with illustrations by Lisa Brandenburg: It’s a sweet bedtime battle between Little Mouse’s endless excuses for his lack of sleep and his mother’s loving and imaginative suggestions. A night filled with pirates, pancakes, floating among stars. Wait for yawning. And stretching. And sleepy thoughts. And drowsy eyes.
I have always loved bedtime stories and have the fondest memories of reading them to my children. A lot of picture books simply become bedtime reads by virtue of their popularity even though they do not necessarily induce nodding out, while others, just as good, are intentionally written that way. The latter applies to Azúa Kramer’s sweet, comforting tale. Mama Mouse has put Little Mouse to bed but he’s not quite ready to lay still, something we’re all familiar with. In slightly muted colors, Brandenburg’s cheerful mixed media artwork depicts Little Mouse’s toys and stuffed animals at first being a big distraction. After Mama Mouse softly suggests the following to bring on yawning and get Little Mouse into the sleepy zone …
If you want to fall asleep and you’re jumping on your bed … Read pages in a story. Not one or two or three, but the whole book, from cover to cover.
… readers will actually see the stuffed animals and toys have reacted more to Mama’s suggestion than Little Mouse has. It’s clear that his mind’s moving a million miles an hour. Helping to calm his over-active brain, Mama Mouse offers another soothing refrain and gently suggests he think about scrumptious food and wait for stretching. This repetition of mom’s reassuring words continues as Little Mouse remains unable to sleep meaning more visits to Mama, more ways to settle down, until he can finally fall asleep.
With quiet sounding language and a soothing rhythm, Azúa Kramer’s writing does an impressive job of lulling little ones to sleep. Parents will appreciate that there’s just the right amount of words since the ideal bedtime story should be under 10 minutes long to read. And when, in the end, Mama Mouse gives hugs to her child, it’s a wonderful way to wrap up story time and kiss your own child good-night. I have no doubt that they’ll be relaxed, ready to drift off to dreamland filled with loving thoughts and a smiling face.
The Green Umbrella (NorthSouth, Feb. 2017) The Boy & the Eight Hundred Pound Gorilla (Candlewick Press, 2020) If You Want to Fall Asleep (Clavis, May 2018) That’s for Babies (Clavis, TBD) Miles Won’t Smile (Clavis, TBD) How Lilly Ate the Rainbow (FastPencil, 2011)
THE EXPLORERS: THE DOOR IN THE ALLEY by Adrienne Kress (Delacorte Press; $16.99, Ages 8-12)
THE BLOG TOUR
Allow me to take the liberty, given the wit and wildly sassy style of Adrienne Kress’s fantastical middle grade novel,The Explorers: The Door in the Alley, to share with you, readers, the several unused openings that I toyed with before settling upon something completely different though perhaps a bit more mundane:
Can a pig ever be considered precocious?
Teeny hats off (and I mean that in the best possible way) to author Adrienne Kress for her latest novel!
Kress had me at Explorers.
REVIEW: Now, all those intros aside, I thoroughly enjoyed being taken inside the thrilling walls, doors, rooms and slide (yes, slide!) of The Explorers Society, one of the most marvelous places I’ve been to in a long time, and the driving force (to say the least) behind this very imaginative adventure. Getting to know the cool cast of characters whose journey kept me turning the pages as more and more secrets were revealed, was also tons of fun.
The story of The Explorers unfolds with the rescue of a pig in a teeny hat by a 12-year-old, rule-respecting, STEM scholar named Sebastian. It doesn’t hurt that he’s also got a photographic memory. The pig, it turns out, belongs to a member of The Explorers Society, located in a seemingly innocuous building in a back alley near Sebastian’s routine route home. Rather than being rewarded for his helpful deed as logic would dictate, logic being another characteristic that can be attributed to young Sebastian, he is punished by the society’s president. Sebastian must now, to avoid arrest (yes, arrest!), do chores daily after school at the society in order to learn to take risks and expand his limited horizons.
As he becomes familiar with the amazing interior of the society (trust me, it is absolutely unreal!), Sebastian, prodded by the president Myrtle Algens, seeks to do something inappropriate that only someone who thrives on appropriateness can do. Just what that is, he hasn’t a clue. So, while unsure exactly how to push these boundaries, Sebastian accidentally uncovers a small hidden door behind which sits a box. Sebastian takes this box home and discovers in its contents assorted articles, photographs and other information about a disbanded group of explorers called the Filipendulous Five. When he asks Algens about them he is less than politely asked to leave the society’s premises and never return!
Upon departing, Sebastian encounters a forlorn-looking girl sitting outside. The girl, we learn, is Evie, an orphan on the run from some scary-looking dudes, one with a jaw wired shut, the other with (I kid you not!), a partially melted face. According to a letter she was given before she escaped the bad guys, Evie discovers she has an important connection to the The Explorers Society. This letter, written by her grandfather who she didn’t know was alive, indicates he’s in grave danger. Somehow though, this information, when shared with Algens, has gotten her kicked out of the building despite believing it would be a place of refuge. Things become even more confounding for the poor girl when Sebastian explains that her grandfather is none other than Alistair Drake, the head honcho of the Filipendulous Five! Soon Evie and Sebastian team up and take off on a series of exciting and risky exploits (it’s true, Sebastian skips school!) at the local zoo, the university, as well as inside The Explorers Society, all in an effort to find a mysterious key mentioned in the letter and save Evie’s grandfather while trying to elude wired-jaw guy and melted-face man.
The Explorersis a fabulously funny, fast-paced read with 27 chapters and an epilogue. Each chapter contains just the right mix of mayhem, dialogue, description and derring-do. Kress’s imagination is boundless, something I’m certain middle graders looking to lose themselves in an adventure/mystery will appreciate. Her sense of humor is also spot on. I must mention here that I had the good fortune to be sent an advanced readers copy for the blog tour so the artwork that is due to accompany the novel wasn’t included. But I can’t wait to see it since the story itself is quite visual and would lend itself well to film or TV.
Now dear readers, the story doesn’t end here because there is definitely more to come in an as yet unnamed sequel that, I have to admit, is the appropriate thing to do when the author leaves you with a cliffhanger making you wonder what’s to become of Sebastian, Evie and the rest of the characters you’ve grown to care about. I’m also very curious as to whether Sebastian’s school ever calls his parents, that is unless all the action occurs on weekends. That would certainly calm his nerves. Watch this space!
Reviewed by Ronna Mandel
More upcoming stops this week and next for the blog tour include:
LEO, DOG OF THE SEA Written by Alison Hart Illustrated by Michael G. Montgomery (Peachtree Publishers; $12.95, Ages 7-10)
We’re delighted to be included in Peachtree Publishers’ Blog Tour for Alison Hart’sLeo, Dog of the Sea, the fourth installment in this action-packed series available April l.The Dog Chronicles series introduces young readers to the important yet often overlooked roles our canine companions played in major historical events. Please read on for more info about the book and giveaway.
After reading the first few pages of Leo, Dog of the Sea, prepare to be instantly swept aboard the Trinidad, one of five ships in the Spanish armada under the command of Captain General, Ferdinand Magellan. The date: August 1519. In 14 fast-paced, engaging chapters, readers will join the ship’s rat-catching canine, Leo, who narrates the treacherous voyage around the globe as Magellan navigates the seas looking for a route to the Spice Islands. They’ll also meet a motley crew and a colorful cast of characters and can decide for themselves who is worthy of friendship and loyalty and who is not to be trusted. While Leo certainly becomes the most endearing of the lot, Pigafetta, Magellan’s Italian scribe, and Marco, a young stowaway are sure to be favorites, too.
Hart has once again created an observant and compelling character, this time in Leo, a dog reluctant to get close to any human. Now embarking on his fourth voyage to foreign lands, Leo has a wealth of seafaring experience making his detailed descriptions of all things sailing related both realistic and believable. And while five vessels set out in search of a westward route, only one will complete the entire three year journey intact.
When the armada sets off, readers learn that reporting directing to Magellan is master-at-arms, Gonzalo Gomez de Espinosa who will, according to Magellan, “… carry out my orders and assure that the laws of Spain and navigation are obeyed.”This man is the epitome of cruel and Leo and Marco must steer clear of him to save their skins. Keeping notes on everything that occurs, good and bad, is Pigafetta who takes to the boy and dog early on, helping them survive during the perilous trip. It doesn’t hurt that Leo displays bravery in the face of adversary on numerous occasions. And Marco, stoic and astute, proves to be an invaluable companion and page. The story revolves around all the various ports of call visited, the inhabitants encountered and the obstacles faced by Magellan and his crew along the way. Those include every type of weather condition imaginable including violent storms or lack thereof, thievery, hunger, deadly disease, mutiny and murder.
I knew little about Magellan before beginning the book and found myself eager to find out more as I approached the story’s end. Fortunately there are 19 pages of information Hart has included to fill interested readers in on the rest of what happens after her story finishes as well as other fascinating facts about seafaring in the 16th century. From ship dogs to conditions onboard, the back matter in Leo, Dog of the Sea is as riveting and educational as the rest of the book. Illustrator Michael G. Montgomery’s artwork adds to the book’s appeal. His pencil illustrations provide just enough detail to give readers a real taste of the clothing and equipment of the time period, while zeroing in on the key action of a chapter. I guess in closing I have to say that, unlike days out a sea for Magellan’s armada, with no wind blowing for weeks on end, this middle grade historical fiction chapter book is never, ever boring. Get a copy today at your local independent bookseller or enter our great giveaway below. Thanks for stopping by the blog tour. Here are more blog posts to check out, too! 3/27: Kid Lit Reviews 3/28: Librarian’s Quest 3/30: Boys to Books 3/31: Ms. Yingling Reads
Reviewed by Ronna Mandel
Other books in this series: Darling, Mercy Dog of World War I; Murphy, Gold Rush Dog; Finder, Coal Mine Dog. Please read our review of Darling, Mercy Dog of World War I, Book One in the Dog Chronicles series by clicking here.
Click here for a Teacher’s Guide. Click here to read a Q & A with author, Alison Hart.
Please leave a comment on this blog post for your chance to win one (1) copy of Leo, Dog of the Sea, courtesy of Peachtree Publishers, MSRP value $12.95. One or two words for comment will not be considered valid entries. Giveaway ends 11:59p.m. on April 18. The winner will be chosen via Random.org on April 19th. For an extra chance to win, follow Good Reads With Ronna on Facebook here and let us know you did. Want to increase your chances? Get an additional entry into the giveaway by following this blog on Twitter or tweeting about the giveaway. Must be U.S. resident to enter. The winner will be notified via email. Good luck!