children’s books

Stories to bring smiles

Delightful. That’s the first word that comes to my mind for two new hardcover children’s books by members of the Jewish community that will soon find their way to my youngest nieces’ bookshelves: Pip & Pup by Eugene Yelchin (Godwin Books) and Counting on Katherine: How Katherine Johnson Saved Apollo 13 by writer Helaine Becker and illustrator Dow Phumiruk (Christy Ottaviano Books).

Yelchin’s wordless book begins with a chick hatching. On a farm somewhere, having just come out of her shell, Pip sees the world for the first time. She spies a puppy sleeping under cover of a tractor. Fearless, she goes right up to Pup’s nose to say hello. When Pup awakens and barks in greeting, Pip is thrown into a panic, not quite prepared for the full size of her relatively large new friend.

When the rain starts, Pip literally climbs back into her shell, but just to stay dry. She is no longer afraid. In fact, when she sees Pup’s distress at getting wet and at the sound of the thunder and the force of the rain, she offers what help she can. The two start to play even before the sun comes out again. A broken eggshell dampens spirits momentarily, but then it’s Pup’s time to fix things, which she does.

Pip & Pup is a simple story that is evocatively illustrated using warm colours, texture and layers, combining pastels, coloured pencils and digital painting. There is a depth to the art and the story. Children and their adult readers will have fun asking each other questions as they go along. Do you think Pip is brave to say hello to Pup? Do you like the rain? How is Pup feeling right now? How would you feel if something of yours broke?

Many questions will arise from reading Counting on Katherine, as well, though some of them will require a different kind of reflection, as the story touches upon racism, sexism and other such topics – in an age-appropriate way for readers 5 and up.

Becker interviewed Katherine Johnson, who turned 100 years old on Aug. 26, and Johnson’s family for this picture-book biography. Johnson was a mathematician at the National Aeronautics and Space Administration (NASA) and, among other things, her manual calculations were crucial in bringing the crew of Apollo 13 back to earth safely after it was damaged while in space.

In Counting on Katherine, we meet Johnson as a young girl: “Katherine loved to count. She counted the steps to the road. The steps up to church. The number of dishes and spoons she washed in the bright white sink. The only things she didn’t count were the stars in the sky. Only a fool, she thought, would try that!”

And Johnson was anything but a fool. She skipped three grades in elementary and was ready for high school at 10 years old. “But back then,” writes Becker, “America was legally segregated by race.” Johnson’s high school didn’t admit black students, so her father, by “working night and day, he earned enough money to move the family to a town with a black high school.”

Johnson’s next challenge was that, as a woman in that era, she was relegated to the teaching and nursing professions, so she became an elementary school teacher. However, in the late 1950s, the space race began, and NASA’s predecessor began hiring thousands of workers. “It even started hiring black women – as mathematicians.”

Johnson excelled at NASA and her work was integral to the United States’ space program, not just to the Apollo 13 mission, and Counting on Katherine has an epilogue that gives some additional information about Johnson. As well, Phumiruk’s imaginative digital artwork is also information-filled, clearly showing Katherine’s longing to learn, as she gazes from her bedroom window at the night sky; her joy with numbers, as she fills chalkboards with them; her anger at not being allowed to attend her town’s high school; her meticulousness, as she calculates a safe journey for Apollo 13. Counting on Katherine is a wonderful book.

A once in 30-year occurrence

Take a seasoned children’s book author like New York-based Jane Breskin Zalben – who has created more than 50 children’s books and is an abstract painter – and pair her with Mehrdohkt Amini, an illustrator of children’s books who lives in the United Kingdom, and the result is a charming book about interfaith friendship for 3-to-7-year-olds – and older readers.

In A Moon for Moe and Mo (Charlesbridge Publishing, 2018), Moses Feldman and Mohammed Hassan meet in a Flatbush, Brooklyn, grocery store, where the storeowner mistakenly takes them for twins since they both have curly dark hair, brown eyes and olive skin. They are shopping with their mothers for their up-and-coming holidays, with Rosh Hashanah, the Jewish New Year, and Ramadan, the Muslim holy month of daylong fasts that marks the giving of the Qur’an to Muhammad, overlapping – something that happens only once every 30 years or so.

The two boys become friends, including going on a picnic, which brings their families together. That same evening in their homes, both boys see the first sliver of the new moon.

In an interview, Breskin Zalben said she was shopping with her granddaughter in a store in Brooklyn when she met an Arab mother with her child and the two children began to interact.

“After being invited to speak at many international schools, in counties where I visited mosques and old synagogues, doing this book was a natural outgrowth of those broadening journeys to other cultures,” she said.

Although Breskin Zalben was art director at Scriber Publishers and illustrated most of her other books, she knew that Amini was from Iran, saw her portfolio and wanted her to do the illustrations for this book. Amini has created beautiful acrylic, marker, ink and photo-collage artwork, which was then assembled digitally.

In the back of the book is information about Rosh Hashanah and Ramadan, notes from the author and illustrator and two recipes.

Said Breskin Zalben, “I am excited to share the diversity and the similarity of Moe and Mo…. I hope maybe this book, in any book’s small way, finds an audience. It was six years in the making and so much hard work and passion goes into every book.”

This is a very special book for children and their parents to read at Rosh Hashanah.

Sybil Kaplan is a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machane Yehuda, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.

Keeping children safe

Bracha Goetz reads from one of her recent books to her two grandchildren. (photo from Bracha Goetz)

Many of us were raised to not talk to and be wary of strangers, but the sad fact is that kids are much more likely to be taken advantage of or abused by someone they know and think they can trust. This reality was the driving force behind Bracha Goetz’s book Let’s Stay Safe, which was published in English in 2011, and just came out in Yiddish this summer, as Zai Gezunt.

Born in Queens, N.Y., Goetz graduated from Harvard and started on the road to becoming a psychiatrist before heading to Israel for what was to be one summer. However, while in Israel, she become observant, and ended up staying. There, she did a further 11 years of study, got married and had a family.

Goetz and her family have since moved to Baltimore, where she coordinates a Jewish Big Brother Big Sister (JBBBS) program. As well, she writes children’s books and, to date, has published 36 of them. “They are all spiritual children’s books,” she said. “Originally, I was just writing Jewish children’s books, but now I’m also writing spiritual children’s books for anybody.

“I always wanted to write spiritual books for everyone, but I just recently found a publisher that was interested. It’s not easy. It took a long time, but I’m very happy to do that, because, although these are Jewish concepts, they are also actually universal concepts that I’d love to share with any child.

“I try to write books that I wished I could have read as a child, to answer the spiritual questions I had as a child that weren’t answered,” she continued. “They were answered for me when I was 22, but I try to write about the deepest spiritual concepts on a simple level so any child can understand them. I also try to do it in a joyful, delightful way, so that it can go right into their soul.”

In her role at JBBBS, Goetz witnesses firsthand how sexual abuse affected children. This made her think about how she was teaching her own children about such dangers.

“I realized that I didn’t raise my children with an awareness about it,” she said. “I taught my children about ‘stranger danger,’ but, when they were little, we weren’t as aware as we are today that, with most sexual abuse, the perpetrators are known to the children; that’s how they get access. It’s rare that it’s a stranger. It’s most commonly someone the child already knows. There was no book like this in the Orthodox community and some of the books (in the general community) are not culturally relevant for Orthodox people.”

photo - Let’s Stay Safe, which was published in English in 2011, and just came out in Yiddish this summer, as Zai Gezunt — Let’s Stay Safe, which was published in English in 2011, and just came out in Yiddish this summer, as Zai Gezunt.

Goetz wanted to write a book that would be accepted by the Orthodox Jewish community specifically, as the subject tends to be less discussed in these communities. So, she wrote Let’s Stay Safe, but could not find a publisher. That is, not until Rabbi Yakov Horowitz, dean and founder of Yeshiva Darchei Noam in Monsey, N.Y., agreed to help and got the book accepted by ArtScroll.

“He really worked at it, and it was a really groundbreaking book,” said Goetz. “There was nothing like it out there. We wanted readers to understand that these were additional normative safety rules that needed to be adhered to by children to be safe. Of course, the book is also for parents, because, when parents read it to their children, they also gain an awareness.

“It’s not a good idea to leave the safety responsibility of children up to the children. It’s the parents’ responsibility. But, the parents also need to teach the awareness to their children and remind them about it every so often. As they come upon new circumstances, they need to review the guidelines.”

To take the book a step further, especially in Chassidic communities, Horowitz spearheaded a Yiddish version. “In certain Chassidic communities,” explained Goetz, “their mother tongue is Yiddish. We wanted to reach as many people as possible, so that they would bring this book into their homes and share it with their children. Even the pictures were altered to be more Chassidic-looking. We don’t want anything to stop the Yiddish-speaking population from getting this information.”

One of the concepts Goetz wanted to stress in the book was that children speak with a parent even if somebody touched them inappropriately a long time ago. It is important for these experiences to be told, she said, so that survivors can heal, and also so that the perpetrators cannot continue abusing children.

Another concept she wanted to convey clearly is not to trust someone just because she or he is dressed in Orthodox clothing, as that does not automatically mean they are safe people.

“There’s one picture of an older teenaged boy at a camp,” Goetz said, by way of example. “Many times, it’s a familial problem, where it’s an older brother, an uncle, a step-brother who is the perpetrator. Just this week, I was in a community different than I was usually in, but the people knew I was the author of the book … and, this happens a lot, people come to me with questions. I was outside watching my grandchildren and a mother came by and said, ‘Does this seem right? There’s a teenaged boy and he’s playing with all these little children. He’s playing ball with them. He doesn’t live in this community. And why is he here? He’s Orthodox, as well, just as the children, but he didn’t know any of them. Why was he playing with them?’ I said that’s definitely a red flag.

“This kind of awareness was not typical before the Let’s Stay Safe book was published. The incident illustrates the impact that the book has had. Now, there is a general awareness in our community, because there has been consciousness-raising on the issue of child sexual abuse.”

Books written by Goetz are appropriate for kids ages 2 and up, but are better starting at the ages of 3 or 4.

“This book is often read to 4- to 8-year-olds but, the truth is, older children love reading this book, too,” said Goetz. “And what I find so interesting is that a lot of children tell me it’s their favourite book of mine, which I never expected because it’s all about rules and guidelines. But, they love it. It gives them a sense of safety and security, and children ask for it as their bedtime story.”

Other books written by Goetz touch upon topics like eating healthily (and enjoying it), teaching children sensitivity, and teaching people how to interact more naturally with children with special needs.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Meet award-winning artists

Seeking Refuge, written by Irene Watts and illustrated by Kathryn Shoemaker, has been shortlisted for the 2017 Vine Awards for Canadian Jewish Literature. Published by Tradewind Books, the graphic novel is one of the three finalists in the children’s/young adult category.

While this year’s Vine winners will be announced Oct. 3 at a luncheon in Toronto, Vancouverites can meet Watts and Shoemaker later this month at Word Vancouver, and again at the Vancouver Writers Festival in October. The multiple-award-winners, who are both founding members of the Children’s Writers and Illustrators of British Columbia Society, have worked together on several publications, including Good-bye Marianne, a graphic novel based on Watts’ play and subsequent novel of the same name, which also included Shoemaker illustrations.

In Good-bye Marianne, readers meet Marianne Kohn. Set in Berlin in 1938, a week after Kristallnacht, the 11-year-old struggles to understand and cope with the increasing restrictions placed on Jews in Nazi Germany, and the fierce antisemitism she and her family encounter, with a couple of exceptions. The story begins with Marianne not being allowed into her school – all of the Jewish students have been prohibited from attending. As well, her father has disappeared. The situation, as we know from history, worsens, and her mother makes the heartrending decision to send Marianne with “a group of 200 children who are leaving for homes in England,” one of the first groups to be rescued in the Kindertransport.

Seeking Refuge sees Marianne safely to London, arriving Dec. 2, 1938. While protected from physical harm in her new country, Marianne does not escape antisemitism and poor treatment.

In an interview with CBC, Watts commented on Shoemaker’s choice of medium for Seeking Refuge, noting how the grey of the pencil was so well-suited to the story.

“Seeking Refuge is a darker, sadder story, taking place in a time of blackouts, black-and-white films, coal-foggy London, especially the winter months, a gloomy time and place,” said Shoemaker in an interview with the Jewish Independent. “In Good-bye Marianne, Marianne is happier than in Seeking Refuge because she is with family, her home, her country, her language. So, yes, the backgrounds are light, often white. She is anxious about her being sent away but she is not yet sad about it. She is not yet a displaced refugee.”

The possibility of using Seeking Refuge as a way in which to teach younger readers about the current refugee crisis has not gone unnoticed by reviewers and interviewers.

“Stories, in whatever genre, help us to discover more about our place in the world and who we are,” Watts told the Independent. “Immersing ourselves in the lives of fictional characters and their stories, we gain insight of how others live.” While acknowledging that readers will “take whatever message they are ready to understand from the books they read,” she added, “Marianne’s story, though set in the past, is still a familiar one. There are many refugees in the world. Seeking Refuge concerns one child, and how she responds to losing home, friends, family, birthplace, language, culture. In reading about Marianne, a reader may wonder how he would cope in this situation; maybe respond with more kindness and understanding to anyone struggling to make a new life.”

Marianne’s story is similar to – but not the same as – that of Watts, who was educated in England and Wales after her escape from Berlin via the second rescue train in December 1938. Skipping ahead 30 years, she and her husband moved to Canada in 1968, she said, “to give our children a better future.” They immigrated to Alberta.

A playwright and director for Theatre in Education and a drama teacher and consultant in England, Watts taught drama in Hobbema (now Maskwacis), where they lived for a short time before moving to Edmonton. In Edmonton, she was director of Citadel on Wheels and Wings, a children’s touring company that traveled all over Alberta. “We even took our shows to schools in the Northwest Territories,” she said, noting that, among the company’s alumni are Jackson Davies and the late Susan Wright.

“After a few years,” said Watts, “my late husband accepted a position in Vancouver and our four children and I followed. This was in 1976. My base was in White Rock, B.C., and I moved to Vancouver in 2000.”

That Watts likes to write in different genres is clear from the way in which Seeking Refuge came into being.

“Good-bye Marianne began life as a play, which premièred at the Norman Rothstein Theatre in 1994,” Watts explained. “It was produced by Carousel Theatre, and toured widely. It has had many productions, both in Canada and the U.S.A., and will be touring with Theatre New Brunswick for three months in the spring of 2018. I had been a playwright long before I became a novelist. I decided to write the novel because there was still much to say beyond the confines of the play. Kathy Lowinger, then publisher of Tundra Books, rescued the manuscript from the slush pile, and published it in 1998.

“I received countless letters from children, wanting to know what happens next, and so completed both the novel and the play Remember Me, on which Seeking Refuge is based. The trilogy, which ends with Finding Sophie, was later published in an omnibus edition, to commemorate the 75th anniversary of the Kindertransport, as Escape from Berlin.”

For readers anticipating a possible third graphic novel, Watts told the Independent she has “no plans to write about Marianne and Sophie again.”

Shoemaker and Watts collaborated on Watts’ first book for Tradewind, A Telling Time, “which places the story of Queen Esther and the story of Purim in three time frames: modern-day Canada, Nazi-occupied Vienna and the biblical era of Persia. So,” said Watts, “when Kathie told me she had read my play Good-bye Marianne and suggested that it would make an interesting graphic novel, I needed no persuasion, and together we embarked on our next project – a new genre for me. Since then, we have done several other books together, for both Tundra and Tradewind Books.”

A Telling Time, which Shoemaker described as “a picture book for older children about the parallel stories of Queen Esther and how she saves her people and a 1939 secret Purim party,” was recognized by the International Youth Library in Munich, Germany, with a 2006 White Raven special mention.

“For that book,” said Shoemaker, who teaches children’s literature at the University of British Columbia, “I did a huge amount of research. As well, Irene shared many resources with me.

“While I was illustrating A Telling Time,” she said, “I was working on my MA in children’s literature at UBC. Instead of doing an academic thesis, I wrote a graphic novel. During the process of finishing it up, Irene asked me what it was like to write a graphic novel and I told her that, for her, it would be a snap, as it is very much like writing a play or screenplay, as you write primarily dialogue, and, similarly to writing a play scene by scene, a graphic novel is written panel by panel. In response to my answer, Irene told me that Good-bye Marianne had been a play before it was a novel.”

Shoemaker said she drew up several pages of Good-bye Marianne for Watts to send to Tundra as a proposal for a graphic novel. “It was about to have its 10th anniversary, so it was good timing,” said Shoemaker. “Tundra had never done a graphic novel before but they agreed to it.”

Graphic novels were still a relatively new phenomenon at that time. “Other than Chester Brown’s Louis Riel and books for adults, there were almost none,” said Shoemaker. “It was a bit of challenge working with an editor who did not understand the form and also who didn’t seem to understand how closely Irene and I work.

“You will often hear that editors like to keep writers and illustrators apart. I hate that. Irene and I work closely on everything that we do.”

Their creative process begins with Watts writing a rough draft. “She doesn’t number the panels but she describes all the key actions she wants to see occur along with the dialogue,” explained Shoemaker. “From that version, I go back into the manuscript to visualize the sequence of panels. When I do that, I create panel numbers and add in additional panels that may be close-ups, wordless images and additional panels to handle complex conversations. After I’ve done that, I begin a visual dummy, drawing out the entire book panel by panel. When that is complete, I sit down with Irene and go through it panel by panel. As we go through it, we decide what stays, what goes and what more we might need. The best thing about our working together is that we highly respect each other’s ideas and we both listen, consider and change things without any kind of ownership because we consider the work ours. It is our book, not mine, not hers, but ours.”

Watts and Shoemaker will be at Word Vancouver on Sept. 24, 12:45 p.m., at the main branch of Vancouver Public Library in the South Plaza (the Quay) and the Writers Fest on Oct. 18, 1 p.m., at Revue Stage on Granville Island. For more information on both of these festivals and for tickets to the latter ($17), visit wordvancouver.ca and writersfest.bc.ca, respectively.

Gasoi is one class act

Singer/songwriter Jennifer Gasoi, seen here in a promotional shot for her new book, was back in her hometown last month. (photo by Philove)

Jennifer Gasoi’s new book, Blue and Red Make Purple, is both a hardcover children’s book and a CD collection. It was released to immediate acclaim, winning the 2016 Parents’ Choice Gold Award and a National Parenting Product Award.

CD cover - Jennifer Gasoi’s new book, Blue and Red Make Purple, has already won awards. — Jennifer Gasoi’s new book, Blue and Red Make Purple, has already won awards.

Illustrated by Steve Adams, Gasoi’s songbook has a vintage feel with a touch of Chagall. It is vibrant and surreal, full of movement, as a group of animals get up to all sorts of musical capers. “I love the illustrations for this book,” Gasoi told the Independent. “I feel that Steve accurately depicted the joy, love and depth of my songs. He offers a brilliant visual representation of the music.”

Gasoi has local roots and, 15 years ago, she was performing at Rossini’s jazz bar in Kitsilano. She studied music at Capilano University’s jazz program and took part in community choir events around town before she decided it was time for a change and moved to Montreal. There, she taught music to young children and parents. Her debut album, Songs for You (2004), garnered awards and nominations, as did her second CD, Throw a Penny in the Wishing Well (2012).

Among the honors for her second recording was a 2014 Grammy Award for best children’s recording. An unusual compilation, the CD introduces children to a wide range of genres, including bluegrass, calypso and klezmer.

“Winning a Grammy was a life highlight,” said Gasoi. “It was something I had been dreaming of since I started my music career – and having Cyndi Lauper present the award was pure gold.”

Gasoi’s lyrics are deceptively simple. The song “Happy” from Wishing Well, for example, starts gently in a voice that sounds as natural as exhaling, were it not for the jaunty, syncopated piano accompaniment. This brief “ditty,” as she calls it, is written for children but models a spirit of resilience and self-acceptance that could be a mantra for any age. A chorus of “I feel happy” follows lines such as, “When I jump, when I fly, when I feel, when I cry.” Likewise, this song teaches generosity and compassion: “When I laugh, when I live the life I want to live, when I take a little less than I give. I feel happy….” And, “When I dance the way I want to dance. When I step out of the box and take a chance, I feel happy….”

Gasoi’s voice brims with a mix of confidence, mischief and kindness. Asked if she’s aware of this last quality, she laughed, “I do hear that. I hear that I’m soothing. Even when I was in jazz clubs and I’d be thinking, ‘I’m rocking this, I’m digging it!’ people would come up and say, ‘I’m so relaxed right now!’”

As an artist, Gasoi is working to a plan. Her goal is to reach children deeply, authentically, as both an educator and a musician. This drive has long been apparent, said singer Christie Grace, Gasoi’s contemporary at Capilano. “She was always extremely self-disciplined.”

“I have a soul connection with children,” said Gasoi. “I see their light and their beauty. I pray that, through my music, I can inspire them to tune into what they feel, what they love, what they are good at.”

With an eye to the greater good, the singer wants her music to motivate children to be active and empowered citizens working for “a world that is based on peace, compassion and love.”

Gasoi also recognizes that dialogue is part of any educational experience. The adults may be the ones who have laid out the agenda, but the lesson goes both ways. She speaks of the rich education she gained during the 15 years she honed her voice and performance style “teaching music in daycares and community centres, a lot of mom and baby groups.”

Asked about what keeps her motivated, Gasoi describes a visit to an inner city school in Montreal. “I performed my songs to the most enthusiastic audience I’d ever seen,” she said. “The kids were beaming with excitement. They knew all the songs.”

In a population that doesn’t usually have a chance to attend concerts, the experience was all the more poignant. The singer described the group as “jubilant and receptive.”

“One of the teachers told me that one of her students, a boy with autism, had never sat still for more than five minutes during any other concert,” said Gasoi. “During this show, he was engaged for the full hour. It’s moments like these that keep me going.”

photo - Singer/songwriter Jennifer Gasoi with one of her fans, Joel Harrington, the writer’s youngest son — Singer/songwriter Jennifer Gasoi with one of her fans, Joel Harrington, the writer’s youngest son. *(photo by Shula Klinger)*

On stage at the Vancouver Writers Fest last month, Gasoi was utterly in her element. She addressed the audience of hundreds as if it were an intimate group of a few children, gathered around her knees. Her experience as an educator was apparent, as she asked questions and engaged the crowd in conversations, responding to the children as they called out answers and praising them for their unexpected gems. In the middle of “Little Blue Car Trip,” she asked the audience for another form of transportation. The first answer fired back, “Camel!” got a laugh from audience and band alike.

Gasoi’s band members – Jody Proznick (double bass), Joel Fountain (percussion/vocals), Chris Gestrin (piano/melodica) and Ralph Shaw (banjo) – are no less engaging. Shaw doubles as the Purple Man from the song of the same name, leaping across the stage to the strains of this energetic, multi-genred song, which culminates in a fiery rendition of “Hava Nagila.”

There’s nothing like a hometown reception for a returning artist and this show was no exception. “This week was absolute magic. Vancouver welcomed me with open arms!” said Gasoi, who continues to deliver songs packed with rhymes, wordplay and colorful imagery.

“I am constantly amazed by kids,” she said. “They are so pure, honest, innocent and in touch with their instincts. I see their potential and I am doing everything in my power to support them.”

Shula Klinger is an author, illustrator and journalist living in North Vancouver. Find out more at niftyscissors.com.

From cardboard to folktales

Books can take you to the most captivating places. Not always happy places, but places worth exploring, places where the people, environment, challenges and culture are different. A place you can have adventures, learn from what has happened to others or just escape from your daily routine, all for the relatively low price of a book. Oh, and maybe a cardboard box.

The beautifully and creatively illustrated What to do with a Box (Creative Editions, 2016) features the rhythmic writing of Jane Yolen and the inspired art of Chris Sheban. The book is a tribute to the power of the imagination – a way to impart to the younger set that fun doesn’t necessarily need batteries. It’s also a reminder to parents that expensive toys aren’t at the root of what makes playtime enjoyable, and they may even be enticed to join their kids in a cardboard box adventure – if they’re invited to come along, that is.

The writing is simple, as it is for most picture books. That box, “can be a library, palace, or nook,” or a place you can “invite your dolls to come in for tea”; it can be a racecar, a ship, and so much more. And the art by Sheban looks as if he took Yolen’s advice: “You can paint a landscape with sun, sand and sky or crayon an egret that’s flying right by.” It is described as cardboardesque and, indeed, it looks as if he drew the illustrations on different types of boxes.

For slightly older readers (or listeners), Richard Unger has written and illustrated a more traditional story with Chagallesque art, Yitzi and the Giant Menorah (Penguin Random House, 2016). It is a picture book, but with a substantive amount of text on each page. It, too, is beautifully and creatively put together, with most of the text printed on a plain page that includes a black-and-white sketch that doesn’t overlap it in any way, making the reading easier. More importantly, it leaves most of the colorful, vibrant and expressive artwork on the opposite page free from writing. At the end of the book is the brief story of Chanukah.

While set on the eve of Chanukah in the shtetl of Chelm, this tale bears a similar message to What to do with a Box: money isn’t everything. It adds to that the lesson of gratitude.

In the story, the mayor of Lublin gives the people of the Chelm “the biggest menorah” Yitzi has ever seen and the villagers are so grateful, they want to thank the mayor in a way that matches the grandeur of his gift. This being Chelm, the solution doesn’t come easily but, after a few failed efforts, they succeed in a heartwarming way.

* * *

For young adult readers, the stories are much more serious in both subject matter and tone.

Eva Wiseman’s Another Me (Tundra Books, 2016) is set in the mid-1300s in Strasbourg, France. It starts with the main character’s death at the hands of the men poisoning the town’s water – an act the Jews were accused of committing not only in Strasbourg, but other cities in Europe, as well. It was thought that poisoned water was causing the plague and, since fewer Jews were dying, the rumors began that they were causing the illness. In reality, Jews were also dying, but in fewer numbers because Jewish law required much more handwashing than was customary in medieval times.

Wiseman also elaborates upon less tangible Jewish beliefs in Another Me. When Natan, 17, dies, his story doesn’t end. He becomes an ibbur – his soul enters the body of another man; in this instance, that of Hans the draper.

Hans works for Wilhelm, with whose daughter, Elena, Natan has fallen in love. Natan has come to know all of these non-Jews from helping his father in the shmatte business. Wilhelm is one of the very few Strasbourgians who is not antisemitic. Hans is also a good person, though he is jealous of Elena’s affection for Natan. When Natan – to whom she’s attracted – becomes Hans – who she finds ugly – Elena struggles to see beyond the exterior.

While mostly told from Natan’s perspective, Wiseman also allows Elena to tell a substantial part of the story. It is sometimes hard as a reader to change gears, but the dual voices offer a deeper understanding of the situation of the Jews in the city (and beyond), and those who would help them. Being historical fiction, while Wiseman can play with magic, there is, sadly, no chance for a happy ending.

Magic – or, at least, ghosts – also informs the storytelling in Eugene Yelchin’s The Haunting of Falcon House (Henry Holt and Co., 2016).

Ostensibly, this book is a translation Yelchin has made from a bundle of decaying pages bound with twine that he came across as a schoolboy in Russia. He brought them with him when he immigrated to the United States, but let them sit for years. Apparently written and illustrated by “a young Russian nobleman, Prince Lev Lvov,” who was born in 1879, there were many pages missing or unreadable.

“I managed to establish a chronological order of the events and then divided them into chapters, matched the drawings to the chapters, and discarded those I could not match,” writes Yelchin in the translator’s note that begins the book. So “inwardly connected to the young prince” did Yelchin become, he writes, “I can’t be certain, but as I typed Prince Lev’s inner thoughts, I felt cool fingers firmly guiding mine across the keys.”

In the story, 12-year-old Lev’s hands are similarly guided by a mysterious force when he is drawing. Arriving at Falcon House from St. Petersburg to take his place as heir to his family’s estate, Lev – who bears a striking resemblance to his grandfather – dreams of being a hero and nobleman like his grandfather and preceding ancestors. But, with some mystical guidance from Falcon House’s resident ghost, Lev begins to understand that being nobility doesn’t necessarily mean being noble, and his family’s secrets, which are slowly revealed, make him rethink his aspirations.

The ghost, a scary aunt and the disturbing illustrations combine to good effect in The Haunting of Falcon House, even though the story takes a little too long to unfold. The detailed notes at the book’s end provide valuable historical context and add greatly to the reading experience.

Jane Yolen’s Briar Rose: A Novel of the Holocaust (Tor Teen, 2016) is also a retelling – an adaptation of Sleeping Beauty. And, it is a reissue, having originally been published almost 15 years ago in a series created by Terri Windling, which comprised novels by various authors that reinterpreted classic fairy tales.

In Yolen’s reimagining, Briar Rose (aka Sleeping Beauty) is Gemma, Rebecca’s grandmother. Unlike her cynical and competitive older sisters, Rebecca never tires of listening to Gemma’s version of the tale, which doesn’t quite match up with the traditional folktale. When Gemma dies, leaving behind a box containing a few documents and photos that don’t quite match up with what she has told her family about her history, Becca sets off to find the truth.

Her search – done in the days before Google – starts slowly, with the help of her editor, Stan, on whom she has a crush. It takes them from their hometown of Holyoke, Mass., to Oswego, N.Y., where refugees were sheltered at Fort Oswego: “Roosevelt made it a camp and, in August 1944, some 1,000 people were brought over and interned [there]. From Naples, Italy. Mostly Jews and about 100 Christians,” explains the reporter at the Palladium Times to Becca.

What she learns at Oswego leads her on a journey to Poland and to Chelmno. Of the more than 152,000 killed by gas (or shooting) at the Nazi extermination camp that was there, only seven Jewish men are known to have escaped. This allows Yolen to imagine that one woman survived the killing centre, which was established on an old estate in a forest clearing that had a schloss (castle, or manor house).

In Gemma’s cryptic telling of her survival, she is saved from the castle by a “prince,” who we find out was himself saved by partisans after his escape from Sachsenhausen concentration camp and then joined the resistance; in her story, briars take the place of barbed wire, the wicked fairy the Nazis. As Becca discovers the reality of her grandmother’s past and finds her own voice and identity through the journey, we also witness Poles’ difficulties in dealing with what took place during the Holocaust and we meet others – including Gemma’s prince – who are still trying to heal from the destruction the Nazis’ wrought.

Interweaving the “real” story with Gemma’s fairy tale is very effective at building the anticipation and, once Becca arrives in Poland, Briar Rose is a page-turner. One almost doesn’t realize how much they’re learning while they’re reading. Almost.

New award on literary scene

A new Canadian literary prize was announced recently – the Joan Betty Stuchner Oy Vey! Funniest Children’s Book Award.

photo - Joan Betty Stuchner’s friends have created a children’s book award in her memory — Joan Betty Stuchner’s friends have created a children’s book award in her memory. *(photo by Tom Kavadias)*

“With this award, we honor Joan Betty Stuchner’s life-affirming humor and encourage other children’s writers to laugh it up on the page the way she did,” reads the award website. The $1,000 prize will be given out once every two years to a Canadian author and/or illustrator who creates the most hilarious book for readers ages 12 and under.

“We feel that Joan would have loved this prize that supports authors who make children laugh,” said Cindy Heinrichs, one of the award committee members, in an interview with the Independent. “The name of the award is probably the longest and funniest book award name in literary history. Joan would love it. She would laugh at it, if she were alive. I can almost hear her laughing.”

Stuchner, one of the funniest authors of children’s books in Canada, passed away unexpectedly in 2014. She was only 67 years old.

“I met Joan in 2006,” Heinrichs recalled. “I edited one of her books, Honey Cake, for Tradewind. I was a young editor then, and Joan was very supportive. She had a knack for making everyone she met feel like they were her friend.

“We did become friends. Later, when she was already sick, I helped her with the final edits for her two latest books, Bagels the Brave and Bagels on Board [both illustrated by Dave Whamond]. I wasn’t working for her publisher then, I did it as a friend, because she was too ill to do it alone. It gave her a great deal of pleasure to complete these books and a great deal of satisfaction to know that they would find their way into the world. Both books were published posthumously by Orca Books.”

Heinrichs remembered how shocked all Stuchner’s friends were by her passing. “Joan was a wonderful friend, warm and generous. She loved children. She loved books. She was a little lady with a big personality and a great sense of humor.”

Born in England, Stuchner moved to Canada when she was 18. After graduating from the University of British Columbia, she worked as a library assistant, taught part-time, acted in community theatre and performed as a storyteller.

“My life is full of books … and my house is like a mini library – despite the fact that I moved in 2009 and had to give away many of my books. Not an easy thing to do,” Stuchner herself wrote in her bio.

She always liked to write, particularly for children. Her stories and poetry were published in children’s magazines before her first book, Peanut Butter Waltz, illustrated by Diana Durrand, came out in 1990.

“She wanted to write full-time,” said Heinrichs. “At 64, she retired to make that dream come true. Sadly, she died only three years later.”

After the funeral, several of Stuchner’s friends, including Heinrichs, got together to reminisce and to talk about Stuchner’s literary legacy, her funny and heartwarming children’s books.

“We realized that there was no prize in Canada for humorous children’s books. We thought, Joan would love such a prize, we should found one.”

They did. And, in honor their departed friend, they named the prize after her. The members of the award committee include Heinrichs, fellow writers Caroline Adderson and Silvana Goldemberg, and artist/ illustrator Kathryn Shoemaker.

“We all met through CWILL BC – Children’s Writers and Illustrators Society of B.C.,” Heinrichs said. “When we started with the prize, we didn’t know what to do. Everything was a first for all of us, and everything was done by volunteers. There are no administrative fees. No paid staff. We asked people to help – to make a logo, to make a website, to help with fundraising, to donate books – and everyone jumped in. Orca and Tradewind donated books to raise the funds for the prize. Shar Levine is helping us with fundraising, too. She has so many amazing ideas, even though she is not a member of the committee.”

Submissions for the inaugural prize, which will be awarded in 2017, already have started pouring in, from publishers and writers organizations across Canada, although the committee decided not to accept submissions from self-published writers, at least for now. Heinrichs explained that decision: “While there are wonderful examples of self-published books for children, many self-published books are in need of a thorough editorial process. Most book prizes don’t accept them at this time, but that may change. Our prize is brand new and we are learning. We expect it will grow as we do.”

To learn more, visit joanbettystuchneraward.org.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Stories about diversity

Cynthia Fidel was the coordinator of AMIA’s literary contest, which resulted in the publication Primer Concurso de Cuentos Infantiles. (photo by Rebeca Kuropatwa)

When the AMIA (Asociación Mutual Israelita Argentina) bombing occurred in Buenos Aires on July 18, 1994, there was already tension in Argentina between different religious and other groups. The bombing was a sad reminder of the need for diligence – and creativity – in mitigating hatred and fear.

After the bombing, it was very difficult for people to feel comfortable enough to return to the AMIA building, especially parents with small children. Hence, the Jewish education advisor for AMIA, Gabriela Wilensky, developed a program called AMIA for Kids. On two Sundays a month, she brought in top performers to engage children and their parents in forming fresh connections between families and AMIA.

In 2014, Wilensky came up with the first literary contest for kids that would have them explore the concepts of culture and identity. The idea was to involve the greater Buenos Aires community by partnering with 40 public and private schools, with children of all religions. Recently, the literary contest coordinator, Cynthia Fidel, moved to Winnipeg with her family.

“This contest was part of the 20-year anniversary of AMIA, which happened in 2014,” said Fidel. It was open to children from 8 to 12 years old.

When all was said and done, Fidel and Wilensky received 200 story submissions. With the help of a couple of local children’s book authors, 10 winning stories were selected to be published in a book called Primer Concurso de Cuentos Infantiles (First Contest of Fairy Tales) that was published by MILA for Kids, a division of MILA publishing house.

“They talked about different problems, ideas and questions regarding cultural diversity and identity,” said Fidel. “The first prize went to a girl who wrote about cultural diversity. It’s a collection of certain ideas and questions but, above all, it’s a collection of all the incredible imaginations of the kids.”

Now there is talk of launching a second literary contest, because of the success of the first. “They were really happy about what happened with the kids,” said Fidel.

The contest, which was open to children of all origins and faiths, has sparked dialogue between the kids. The main talking point has been respecting each other’s ideas and understanding that agreement is not needed to achieve mutual respect. Fidel loosely translated one of the first lines in the book’s preface: “Nobody is the same, nor worse or better, just different.”

Primer Concurso de Cuentos Infantiles is 84 pages long and includes the 10 winning stories, as well as an extra story written by several children together.

“Some of the stories talk about some kind of conflict situation and how they solved that situation,” said Fidel. “A recurring theme revolves around how they solved it and prevailed using dialogue.”

An excerpt from the book, as translated by Fidel, reads: “There was a society where some people had curly hair, so they thought they had the right to have more time in front of the mirror, to comb their hair. But, others who had different kinds of hair thought they deserved more time. There were others who were taller and they thought they deserved to cut their hair, while short people didn’t deserve that right.

“Until, one day, a girl wished in her heart that everybody would become equal and have the same characteristics. The wish came true and the entire world became grey – colorless and boring. She wished again to have colors and differences in her world, and everybody got their characteristics back. But, now, everyone loved their uniqueness and celebrated others’ uniqueness, too.”

Fidel is a strong believer that adults can learn a great deal from children. “From my experience,” she said, “it is amazing what you can learn from kids and their reflections if you give them the opportunity to express themselves.”

Fidel said the literary contest is a great representation of AMIA as a whole, as their main principles revolve around democracy and pluralism, and creating spaces for all through communal living and coexistence. “They promote those values,” said Fidel. “I’m very proud to have worked there.”

Rebeca Kuropatwa is a Winnipeg freelance writer.