Bruce Peel Special Collections Library Research Articles

Voices from the Wild: An Animal Sensagoria by D. Bouchard

Bouchard, David. Voices from the Wild: An Animal Sensagoria. Paintings by Ron Parker. Markham, ON: Fitzhenry & Whiteside, 2013. Print.This gorgeous book brings together two extraordinarily-talented individuals. David Bouchard is a former teacher, a former president of the Metis Nation of Greater Victoria, a recipient of the Order of Canada, and the author of many books. His popular books use poetry, prose, and visual elements to explore Aboriginal and Métis culture and traditions in both French and English. Ron Parker is one of Canada’s best wildlife artists. His career took off in the 1990s when his realistic portraits of animals in their natural habitats stood alongside those of Robert Bateman and helped to create a very hot market for signed limited edition prints. The publisher is to be applauded for thinking of bringing together Parker’s glorious paintings and Bouchard’s inspiring poetry. It was a wonderful idea, but, unfortunately, it was not well executed. It is most unfortunate that Parker’s beautiful images were not packaged in a fresher and more contemporary book design, one that would appeal to today’s young people. The author says that he “wrote this book with young people in mind” and certainly he has organized his poetry into a familiar scheme for a children’s book—sections which explore the five senses (sight, hearing, touch, smell, and taste)—but unfortunately, the scheme is too childish for young adults while the poetry is too sophisticated for small children. There is great value and power in this poetry, in which the reader is asked to see the world through the senses and perspectives of numerous animals, but, just who is the intended audience?As it is, this volume does a disservice to both the author and the artist. The design may be appealing to parents or teachers of a certain age—who may feel a nostalgic affection for its familiar, if outdated, style, and who will be undaunted by the poetry—but the publisher has made a mistake in marketing this title as a children’s book. As it is, this book stands outside of normal publishing categories. Although too small to be classified as a coffee table book, both the design and the content seem more aligned with that category than any other. Although there is a great deal to applaud here, I cannot recommend this as a children’s book.Not recommended: one star out of fourReviewer: Linda QuirkLinda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history.

Righting Canada’s Wrongs: The Chinese Head Tax and Anti-Chinese Immigration Policies in the Twentieth Century by A. Chan

Chan, Arlene. Righting Canada’s Wrongs: The Chinese Head Tax and Anti-Chinese Immigration Policies in the Twentieth Century. Toronto: James Lorimer & Company Ltd., 2014. Print.This is a non-fiction book about the history of Chinese immigration and settlement in Canada. It takes the reader through a very long historical period that starts from the time the Chinese first stepped foot in Canada in the eighteenth century, through struggling under racial discrimination in the nineteenth and twentieth centuries, to attaining redress and public apology as captured in the title “Righting Canada’s Wrongs”.The title suggests a very serious topic that may not appeal to some readers looking to read for pleasure. However, this is an excellent resource for students doing a school or family genealogy project, or for those with an inquisitive mind. Once the book is opened, the photographs will definitely catch the attention and spark the interest of the reader. The author has skillfully used over 200 rare archival and modern day photographs and real-life audio accounts to make this book into an educational and thought-provoking audio-visual historical document. The only drawback is that the reader has to go back and forth between reading the book and going online to listen to the audio. While the book gives a good account of Chinese Canadian history, it missed the struggles and successes of the Prairie Chinese whose experiences are well-captured in the rich collection of rare archival materials housed in the Bruce Peel Special Collections Library of the University of Alberta, the Glenbow Museum, and the Edmonton Archives.The first chapter introduces the reader to the story by providing a brief historical background. Young readers may not be familiar with the two Opium Wars, British Columbia joining the Canadian Confederation, the First and Second World Wars, and the Chinese head tax redress campaign. Therefore, it will be very helpful if these events can all be put into historical perspectives by specifying the year of occurrence. The back of the book contains valuable references, such as: a “Timeline” diagram, a Glossary, a list of suggested reading, a list of visual credits, and an index to aid the readers. The “Timeline” diagram effectively chronicles significant historical events relevant to the story being told. However, it is inaccurate to say that Hong Kong becomes a British Colony in 1898. Hong Kong is a general name to mean the Island of Hong Kong and its surrounding islets, the Kowloon Peninsula, and the New Territories. Historically, Hong Kong Island was ceded to Britain in 1842, the Kowloon Peninsula ceded in 1860, and the New Territories leased for 99 years from 1898 to 1997. A similar inaccuracy is in the caption for a photograph on page 52 taken in Kowloon. At that point in history, it was a British Colony and not a part of China. This book is more suitable for young readers of grade five and above. They will get more out of reading this book if they are guided by parents or teachers who can help them better understand and appreciate the complex issues and historical occurrences. Recommended: 3 out of 4 starsReviewer: Helen Kwan Yee CheungHelen Kwan Yee Cheung has a B.Soc.Sc. from the University of Hong Kong and an MA from the University of Alberta. She has a diverse background of business, social work, psychology, personnel, and intergovernmental relations, having worked in the provincial and federal public service for twenty-five years. She has curated an exhibition “Painted Faces on the Prairies” for the Bruce Peel Special Collections Library of the University of Alberta in 2014 and currently working on a second project about Chinese merchants in the Canadian West as the Library’s guest curator.

What Can You Do with Only One Shoe: Reuse, Recycle, Reinvent by S. & S. Shapiro

Shapiro, Simon and Sheryl Shapiro. What Can You Do with Only One Shoe: Reuse, Recycle, Reinvent. Illus. Francis Black. Toronto: Annick Press, 2014. Print.The publisher is promoting this charmingly-illustrated book as one intended to inspire a practical and constructive response to the environmental concerns with which we all must grapple. It is a theme which is oddly underrepresented in children’s books, perhaps because it is difficult to craft an approach which is empowering.This book considers popular contemporary ideas about recycling/repurposing everyday objects which have outlived their initial purpose, but it is not the do-it-yourself handbook that it appears to be. Instead, it is a collection of juvenile short poems with a humorously entertaining tone, but no clear message. Clearly, we should not judge this book by its title or by its covers. One poem makes fun of a toilet-turned-into-a-planter and offered as a gift, while another offers a range of silly suggested uses for a single shoe, including flattening pancakes. There is a poem which describes a tractor pulling a “broom propeller” for street sweeping which doesn’t work very well (“pebbles flying left and right”) and another in which a dog made of bicycle parts is less than satisfying (“he can’t lick my nose”). There are some poems with a less mocking tone, but which offer suggestions that are even more absurd, such as children making musical instruments from rusty cans retrieved from a landfill site or children building their own playground, complete with a swing and a slide, from an old ambulance. Intended for children aged 5-8 years old, I wonder what young readers would make of these poems.The illustrations by Francis Blake are by far the best feature of this book. Going well beyond what is found in the poems, the illustrator has created a marvelous cast of characters that are expressive in a way that is both quirky and charming. While the illustrations deserve four stars out of four, the text certainly does not.Not recommended: 1 star out of 4 Reviewer: Linda QuirkLinda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history.

Underground to Canada by B. Smucker

Smucker, Barbara. Underground to Canada. Toronto: Penguin, 2013. Print.A reprint of a historical novel first published in 1977, Underground to Canada is the gripping story of two young girls who rely on the secret network of courageous and sympathetic people which helped thousands of fugitive slaves on their dangerous journey from the American south to Canada and freedom. This covert network came to be known as the “Underground Railroad.” In his introduction, award-winning author Lawrence Hill notes that after being in print for decades, “Underground to Canada still serves as a wonderful introduction to a vital and fascinating element of Canadian history.” In an excerpt from his 1967 Massey Lectures reprinted here, Martin Luther King Jr. says, “Deep in our history of struggle for freedom Canada was the North Star. The Negro slave, denied education, de-humanized, imprisoned on cruel plantations, knew that far to the north a land existed where a fugitive slave, if he survived the horrors of the journey, could find freedom.”The subject matter of this novel is challenging, but, in a world which has yet to put an end to childhood slavery, its message is an important one. As Lawrence Hill notes, referring to the institution of slavery and the horrors of the Holocaust, “writers, teachers and parents do no one a favour by pretending that such things didn’t exist.” Written with young readers in mind, this novel avoids delving into the worst elements of the institution of slavery. It is, however, subtle enough to acknowledge the many difficulties faced by former slaves as they began new lives in Canada. In addition to the words of Martin Luther King Jr. and the introduction by Lawrence Hill, this edition includes thought-provoking questions and activities in the back of the book which may help children to think about the novel’s difficult topics, either individually or with classmates. This is a powerful, essential, novel for the education of young readers—it is recommended for readers over nine years of age—but this particular edition is shoddily produced. I could not help but notice obvious significant errors on pages 27, 84, 133, and 151, and I suspect that I could find many more if I tried. While I cannot give such a substandard edition four stars, I whole-heartedly recommend this title and urge readers to choose a different edition.Recommended: 3 out of 4 stars Reviewer: Linda QuirkLinda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history.

The Great Cake Mystery: Precious Ramotswe’s Very First Case by A. McCall Smith

McCall Smith, Alexander. The Great Cake Mystery: Precious Ramotswe’s Very First Case. Illus. Iain McIntosh. New York: Anchor, 2012. Print.Adult readers around the world have been charmed by the best-selling “No. 1 Ladies’ Detective Agency” series, in which Mma Ramotswe tackles the troubling mysteries and personal problems of ordinary people, and does so by relying on her sharp wit and her extraordinary insight into human nature. In this book, young readers will be introduced to a school girl who is destined to become a great detective. Here, Precious Ramotswe – “one of the nicest girls in Botswana” challenges her classmates’ assumptions in order to solve her first case. The story begins when Precious asks her beloved father to recount her favourite story: an account of the time he was “nearly eaten by a lion”. Since young Precious can tell which parts of his story really happened and which parts are made up, her father suggests that she might become a detective someday. His idea is soon put to the test when her classmates begin to notice that their lunch-time treats are being stolen from the outside shelf where they leave their bags during school. When the children scapegoat a shy boy with a sweet tooth, Precious realizes that she will need to do more than find the truth, she will need to prove it.This book has the charm of the original series, and is recommended for readers aged 7-10 years old. It offers an engaging story and several life lessons. Further, the story offers young readers a glimpse of ordinary daily life in Africa, and the author hopes it “will inspire them to read more about that wonderful continent and its remarkable people” .In a note addressed to the reader at the back of the book, the author tells us that families have been reading his “No. 1 Ladies’ Detective Agency” series aloud together, but acknowledges that the series would be challenging for young readers to read on their own, and so this book has been written with young readers in mind. Teachers and librarians who are fans of Mma Ramotswe will enjoy sharing her adventures with young readers, and will be pleased to find various curriculum materials at the back of the book.Highly recommended: 4 stars out of 4 Reviewer: Linda QuirkLinda is Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta.

Dream Boats by D. Bar-el

Bar-el, Dan. Dream Boats. Illust. Kirsti Anne Wakelin. Vancouver: Simply Read Books, 2013. Print.This is a gorgeously illustrated book which offers readers the opportunity to “float” in a dream boat, travelling deep into the richly-embroidered dreams of children from different lands and varying traditions. The words and images transport us high into the Andes and deep into the rainforests of Haida Gwaii; they take us to the beach in Mumbai and into the city of St. Petersburg; they float on the Niger and sail on the Yangtze. The dream metaphor works well for what is frequently a confusing journey through time and space, through personal narrative and shared folklore, and through the walls that divide us. The central dream of the book is a deeply multicultural dream. One can applaud the author’s intent more than his accomplishment, for it is just a little bit too easy to become quite lost in this dream world in which so many myths and folktales are represented as amalgams or approximations. The saving grace is that the author has inspired the illustrator to visualize an exquisite dream world in which it is a genuine pleasure to be lost.The publisher recommends this book for readers from 4-8 years of age, and this makes sense except that it is difficult to imagine that most children of this age will have enough geographical knowledge or multilayered cultural contexts to grasp the overriding point in even a superficial way.Recommended: 3 out of 4 stars Reviewer: Linda QuirkLinda is Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta.

Hana’s Suitcase Anniversary Album by K. Levine

Levine, Karen. Hana’s Suitcase Anniversary Album. Toronto: Second Story Press, 2012. Print. The true story of Hana’s Suitcase began when a teacher named Fumiko Ishioka was inspired to try to answer some of the questions asked by visiting Japanese school children about a suitcase on display in the Tokyo Holocaust Education Resource Center. The suitcase had come from the Auschwitz death camp. Marked with a girl’s name, her date of birth (May 16, 1931), and the German word for orphan (“Waisenkind”), the empty suitcase offered few clues, but Fumiko was determined to learn what she could about the owner of the suitcase Hana Brady. First published in 2002, Hana’s Suitcase told the interrelated stories of a group of curious Japanese children, the remarkable journey of discovery undertaken by their very determined teacher, and the story of an inquisitive and energetic young Czech girl who was among “the one-and-a-half million children who died in the Holocaust”. Author Karen Levine accomplished a great deal with this book. Not only did she teach readers about how history is discovered, she showed us that those who have been forgotten by history can, in fact, be found again. Furthermore, she found a way to talk about one of the darkest chapters in human history in a way that is suitable for young readers, producing a remarkable book which is, at the same time, both terribly heartbreaking and profoundly hopeful. We are told that in its first ten years the book was “published in forty-five countries and has been the catalyst for stage and film dramatizations, prose, poetry, and every kind of exploration of the worst and best humanity has to offer. It has won national and international recognition, and holds the most awards of any Canadian children’s book ever”. This new edition, Hana’s Suitcase Anniversary Album, includes all of the original content – including the forward by Desmond Tutu – but it offers 64 pages of additional material, including memories from one-time neighbours of the Brady family, and responses to Hana’s story from children, parents, and teachers. The new material, while very interesting, need not inspire anyone to purchase a second copy of the book. Nevertheless, the new edition may help to bring this extraordinary book to a new generation of young readers. This book, in its new or original form, is strongly recommended for readers who are at least 10 years of age. Highly Recommended: 4 stars out of 4 Reviewer: Linda QuirkLinda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history.

Native Americans: a visual exploration by S. N. Paleja

Paleja, S.N. Native Americans: a visual exploration. Toronto: Annick Press, 2013. Print. This book is a non-fiction text using graphics to cover topics as diverse as Aboriginal arrival, culture, language, food, housing, and the environment to present-day Aboriginal issues. It is chock-full of information using a variety of non-linguistic representations, such as graphs, pictographs, and a variety of graphic organizers in the form of timelines and other visuals. The colourful pictures help to draw children’s interest and they also help reluctant readers access the content. A major drawback of the text is that too much information is covered, which means that many of the facts have been overgeneralized and can result in children applying the content to all aboriginal groups. There are occasional problems with diction, such as using the word “tribes” instead of “First Nations”. Also, there should have been more focus on their culture, what issues they face, and how those issues are dealt with in their communities. The book is intended for children ages 9-12 but too often, the language used is difficult for readers at this age. In an attempt to include a vast amount of information the graphics become confusing and are difficult to interpret. This book is a good starting point for those interested in this topic and is certainly recommended reading for an elementary school. The timelines and information capture some of the most important points in the historical development of the Aboriginal Peoples. Recommended: 3 out of 4 stars Reviewer: Alicia OdeenAlicia worked for 5 years in a high school library before getting her dream job at the Bruce Peel Special Collections Library. She now spends most of her time reading stories about dinosaurs, robots, and trains with her 3 year old son William.

Community Cookbooks in the Prairies

This article will build upon research I undertook in co-curating Culinaria: Early 20th-Century Cookbooks in the Prairies, an online exhibit beginning in late spring 2013 at the Bruce Peel Special Collections Library at the University of Alberta in Edmonton. Beginning with a personal account illustrating the real-life sharing of recipes that has occurred in the Prairies between cultural groups, this article will trace such sharing in Prairies community cookbooks. As all Prairies settlers dealt with the same relative isolation and limited ingredients, neighbours of differing ethnic groups adapted and exchanged recipes that worked in the Prairies climate. French community cookbooks contain recipes for chop suey (an influence from the Chinese restaurants in nearly every Prairie small town), German community cookbooks contain recipes for cabbage rolls, Ukrainian community cookbooks contain recipes for sauerkraut, and so on. Such sharing in fact enabled somewhat of a common culinary base unique to the Prairies: indeed chop suey, cabbage rolls, and sauerkraut appear in nearly every community cookbook, as do, for related reasons, rhubarb and saskatoon pies. Food and cookbook history in the Prairies has been little studied, presumably because the only real cookbooks published here in the first half of the twentieth century were community cookbooks (differentiating the Prairies situation from that of Ontario and Quebec), and these books largely survive only in private homes. This is gradually changing, as libraries begin to recognize the value of community cookbooks in reflecting, and contributing to, the culinary history of the Prairies.

The Fathomless Fire by T. Wharton

Wharton, Thomas. The Fathomless Fire. Toronto: Doubleday Canada, 2012. Print. In the first book of The Perilous Realm fantasy trilogy for young adults, The Shadow of Malabron (2010), Will Lightfoot travels to the city of Fable in the land of Story and he is told that it “is not just a world with stories in it,… this world is story” (60). In this place, Will learns about his own special talents and discovers that he must play his part in the story that is unfolding around him if there is to be any chance of averting catastrophe. Together with his friend Rowen, her loremaster grandfather, Nicholas Pendrake, and a wolf named Shade, Will undertakes a perilous journey in the hopes that he can help his new friends and find his own way home. The second book of the trilogy, The Fathomless Fire (2012), picks up the adventures of Will, Rowen, and Shade where The Shadow of Malabron left off. Will returns to the land of Story only to discover that his past exploits have become the stuff of legend, but that the land of Story is imperilled because one story is growing so powerful that it is changing and warping everything, even the past, and there is now a very real risk that this dark story will become the only story “everywhere and for ever. No one will remember that there was ever anything else before, or imagine that things might be different” (325). This novel is recommended for young adults (16+). This is an intriguing book for those who are interested in the idea that we are each, as individuals, the product of the stories (or histories) that we tell ourselves and others, and that we have the power to change the narrative. Thomas Wharton has imagined a complex world of adventure, but one in which meanings can be both unfathomable and unstable. Like many of the books in this category, “The Perilous Realm” series can be understood by young adult readers but will offer greater depth to moremature and knowledgeable readers.Follow the links below to view my interview with Thomas Wharton videotaped for The Deakin Review of Children’s Literature in December 2012. In this interview, the author discusses two of his earlier novels – Icefields (1995) and The Logogryph (2004) – before turning to the first two books in his The Perilous Realm trilogy: The Shadow of Malabron (2010) and The Fathomless Fire (2012). ¤ Access the interview here: http://youtu.be/aRUVHma7ZS4 Recommended: 3 out of 4 stars Reviewer: Linda Quirk Linda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history. For another perspective on this novel, please see the review by Lissa Davies in The Deakin Review of Children’s Literature, Vol. 2, No. 3 (2012).

Awards, Announcements, and News

First, we would like to follow up on news about award shortlists reported in the last issue of the Deakin Review. The UK’s Chartered Institute of Library and Information Professionals (www.cilip.org.uk ) announced the winners for the 2012 Carnegie and Kate Greenaway Children’s Book Awards. Interestingly, both the Carnegie Medal for outstanding book for children and the Kate Greenaway Medal for distinguished illustration in a book for children were awarded for the same book - A Monster Calls published by Walker Books. Patrick Ness received the Carnegie award as author and Jim Kay the Kate Greenaway award as illustrator. In fact, Patrick Ness also won the award in 2011 for Monsters of Men. It sounds like a book not to be missed! www.carnegiegreenaway.org.uk/carnegie/ and www.carnegiegreenaway.org.uk/greenaway/ For its part, the Canadian Library Association (CLA) announced the winners of its three children’s literature awards at the CLA conference in Ottawa at the end of May. The Whole Truth by Kit Pearson (HarperCollins Canada) won the Book of the Year for Children Award, My Name is Elizabeth illustrated by Matthew Forsythe (Kids Can Press) was awarded the Amelia Frances Howard-Gibbon Illustrator’s Award, and All Good Children by Catherine Austen (Orca) was chosen for the Young Adult Book Award. http://www.cla.ca/AM/Template.cfm?Section=Book_Awards&Template=/CM/HTMLDisplay.cfm&ContentID=12660 As for upcoming awards, the Canadian Children’s Book Centre (www.bookcentre.ca/award ) recently released the finalists for each of its seven children’s book award with winners to be announced at the TD Canadian Children`s Literature Awards and Prix TD de littérature canadienne pour l’enfance et la jeunesse events in Toronto and Montreal later this Fall. Notably, this year marks the inaugural year for the new Monica Hughes Award for Science Fiction and Fantasy. Reviews of a few of the finalists have appeared in the Deakin Review. Pussycat, Pussycat, Where have you been? is up for the Marilyn Baillie Picture Book Award (see Deakin review here: ejournals.library.ualberta.ca/index.php/deakinreview/article/view/17078) while This Dark Endeavour: The Apprenticeship of Victor Frankenstein is in contention for the Geoffrey Bilson Award for Historical Fiction for Young People (see Deakin review here: ejournals.library.ualberta.ca/index.php/deakinreview/article/view/17096) On a local note since we are based out of the University of Alberta, Edmonton writer Nicole Luiken is a finalist for the inaugural Monica Hughes Award for Science Fiction and Fantasy for her book Dreamline. Also, we note that Gail de Vos, a professor at our very own School of Library and Information Studies at the University of Alberta is the chair of the jury for this award. Finally, we would like to note a few changes here at The Deakin Review of Children’s Literature. Sarah Mead-Willis who was the communication editor for the first four issues (and rare book cataloguer at the Bruce Peel Special Collections Library at the University of Alberta has, as she remarks, “moved to the other end of occupational spectrum” and is enrolled in a professional cooking program at the Northwest Culinary Academy of Vancouver. We wish her well and thank her for her contributions.Also, Maria Tan has joined the team filling in for Kim Frail who is off on maternity leave and Nicole Dalmer has stepped in as intern editor.Have a wonderful summer filled with great reads.David Sulz, Communications Editor

Why We Broke Up by D. Handler

Handler, Daniel. Why We Broke Up. Illus. Maira Kalman. New York: Little, Brown and Co., 2011. Print. In 1975, Judy Blume published Forever, in which a girl meets a boy at a high school party, dates him, falls madly in love with him, sleeps with him, and then breaks up with him. The novel was the first of its kind— a frank and sexually explicit portrait of teen love, delivered by a modern, post-women’s-lib female narrator. And while the book scandalized some readers, it became a coming-of-age touchstone for others. (Indeed, this reviewer remembers getting a copy from her mother – a bit embarrassing, given all the sex that was in it – as a sort of warning of the pleasures and pains of incipient adulthood.) Fast forward thirty-five years to Daniel Handler’s Why We Broke Up, in which a girl meets a boy at a high school party, dates him, falls madly in love with him, sleeps with him, and then breaks up with him. Not quite the trailblazer of a story that it was in 1975, but a fascinating (and in many ways superior) revision of the doomed-teen-romance downer. Daniel Handler is, after all, known to most as Lemony Snicket, and readers may detect shades of Snicket in the sly wit and mordant humour that infuse this particular series of unfortunate events. But his improvements on Blume’s prototype do not stop at style. For one thing -- and this is a big thing -- Handler invents a far more interesting narrator to tell the tale. While Min Green encompasses the moods and caprices typical of the teen girl umwelt, she also displays repertoire of quirks unwedded to age or gender: an obsession with cult cinema, a wicked sense of humour, and a singular worldview disclosed to the reader in lyrical, synaesthetic morsels. (“Enormous as a shout” is how she first describes Ed Slaterton, her love interest.) Through Min’s voice, Handler creates something that is less a love story than a headlong plunge into the teenage psychic cosmos— that welter of sensory, emotional, and cultural bric-à-brac that young people accrue in their projects of self-creation. The book is cluttered with spurious allusions to movies that were never made, musicians who don’t exist, food and beverages not on offer anywhere outside the text. (Viper shots, anyone? How about a bottle of Scarpia’s Extra Bitter?) These are a clever device on the author’s part; instead of attempting to tap the vocabulary of teenage cool (and burden the novel with effortful hipness), Handler fabricates a pitch-perfect simulacrum. As befits a post-2000 story of young love, there is a visual counterpoint to Handler’s text. Each chapter begins with the image of an object -- a bottle cap, a comb, a pair of earrings – rendered in lush oil paint by artist Maira Kalman. All are mementos of Min’s and Ed’s relationship, and all are cast away as Min comes to grips its ruin. But just as love leaves a trace that cannot be easily expunged, so the images conjured by this novel will resonate, mournful and comic, long after the book is closed. Highly recommended: 4 out of 4 starsReviewer: Sarah Mead-WillisSarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

Brave Music of a Distant Drum by M. Herbstein

Herbstein, Manu. Brave Music of a Distant Drum. Markham, ON: Red Deer Press, 2011. Print. This is a powerful and thought-provoking novel, which offers remarkable insights into one of the darkest chapters in human history. South African author Manu Herbstein was awarded the 2002 Commonwealth Writer’s Prize for Ama: A Story of the Atlantic Slave Trade, and in Brave Music of a Distant Drum, Herbstein re-imagines Ama’s story for a younger, North American audience. The novel chronicles the meeting between an elderly woman at the end of her life and the son who does not remember or understand her. It soon becomes clear that the divide which separates mother and son cannot be overcome until he listens to her story. Kidnapped as a teenager by Bedagbam slave raiders, young Ama was traded several times by powerful slave owners in Africa before she found herself on a slave ship bound for South America. Now elderly and blind, Ama needs her son to write her history down so that it will not be drowned “in the swamp of lost memories.” It is a heart-breaking story, but one that is filled with courageous acts of resistance and a seemingly inexhaustible supply of hope. Following in the tradition of Alex Haley’s Roots (1976) and Lawrence Hill’s The Book of Negros (2007), it is apparent that Ama’s son needs to understand his parents’ history before he can make sense of his own life in the present. This novel is recommended for young adults (16+), and this is an important guideline for two reasons. First, readers who lack sufficient literary and historical knowledge will have trouble interpreting the clues that reveal that the novel is set in eighteenth-century Brazil. More importantly, although the novel’s realistic depictions of horrific violence serve an important purpose, this violence is challenging for even a mature reader. Recommended: Four stars out of fourReviewer: Linda QuirkLinda is Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta.

Ten Birds by C. Young

Young, Cybèle. Ten Birds. Toronto: Kids Can Press, 2011. Print.Faced with the prospect of fording a river, ten chubby, adorable birds use found objects to devise vehicles that will convey them, one by one, to the other side. Sound simple? Perhaps not. When Ten Birds won the 2011 Governor General’s Literary Award for Children’s Illustration, the jury praised it as a “visual riddle.” And indeed, there does seem to be more to this enigmatic counting book than mere plot summary can provide. For starters, the birds’ predicament is innately absurd: why don’t they just fly across the river? Or make use of the bridge that looms in the background of every illustration? And what are we to make of the birds’ report-card epithets (Outstanding, Quite Advanced, Needs Improvement), which may or may not correspond to their river-crossing ingenuity? Perhaps Ten Birds is less about birds and rivers than our tendency to overcomplicate the simplest problems, confusing complexity with elegance. Young’s exquisite pen-and-ink illustrations certainly suggest a tension between the two: dense, furious skeins of crosshatching resolve into minimalistic set pieces, in which vast swaths of negative space dwarf the objects depicted. Come to think of it, perhaps the book is simply an extension of Young’s prevailing sensibilities as a visual artist. Known for her miniature sculptures in Japanese paper, Young has a gift for amplifying the strangeness of everyday objects by reproducing them, out of context and much reduced, in a vacuum of blank space. Likewise, her ten flightless birds and their bizarre contraptions, intricately rendered yet utterly inexplicable, riddle the reader with their presence. (And, like the paper sculptures, they are darn cute.) The fact that Ten Birds refuses to explain itself is one of its principal charms, and its mystery will beguile readers young and old.Highly recommended: 4 out of 4 stars.Reviewer: Sarah Mead-WillisSarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

Circle Nine by A. Hetzel

Heltzel, Anne. Circle Nine. Somerville, Mass.: Candlewick Press, 2011. Print. Why are hapless females in YA novels always named Abby? I don’t know, the amnesiac narrator of Circle Nine would reply. That’s just what it says on my necklace. So begins Anne Heltzel’s debut thriller: a teenaged girl awakens on the pavement outside a burning building with no memories and no name, save the one she wears in gold around her neck. With her is a mysterious, charismatic youth named Sam, who claims to be her friend. Sam persuades Abby to retreat from the fire and into the woods, where they hide in the safety of his “cave-palace”: a glittering subterranean paradise full of shimmering fabrics and sumptuous furniture. There, the two of them sip pomegranate wine, discuss fine literature, and forswear all contact with the outside world, which Sam likens to an Aleghierian hell (hence the book’s title). We suspect this a fantasy, invented by Abby to protect herself from an uglier cave and an uglier Sam, to say nothing of the ugly events occluded by her smoke-kippered memory. The question is: whose fantasy is it? What sixteen-year-old with cheap bling on her neck would retreat into a happy place wrought with literary allusion, Platonic cave metaphors, and Oriental carpets? This is clearly the reverie of the author herself, still in love with her various muses. Abby’s fantasyland, though out of character, is not necessarily a detriment to the novel itself. Indeed, we could do without the predictable combination of flashbacks and sleuthing by which Abby reconstructs her true identity, and abide instead within her doomed and darkly luminous otherworld. For it is there that Heltzel’s storytelling is at its boldest, her writing most sensuous and wild, and it is here that the novel promises—if only briefly—to be something other than the dreary chestnut about a naïve girl brought low by bad luck and sly men.Recommended with reservations: 2 out of 4 starsReviewer: Sarah Mead-Willis Sarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

Mudkin by S. Gammell

Gammell, Stephen. Mudkin. Minneapolis: Carolrhoda Books, 2011. Print.Kids love mud. Of this there is no doubt. There is nothing like an afternoon spent knee-deep in ooze to undo the adult tyranny of cleanliness and crown a child king— or queen, as in the case of Mudkin. In this latest offering by Caldecott-winning illustrator Stephen Gammell, an imaginative young girl teams up with a playful sprite whose onion-shaped head and squat, gnomelike body are comprised, it would seem, entirely of mud. Mud-made too are the robe and crown he offers the girl, who gladly accepts her newfound role as monarch of muck. Together, the two of them caper and romp through a backyard mud-kingdom, until the rainclouds gather and wash Mudkin and his mud-realm away. The story’s premise – a child conjuring a magical playmate out of the elements – seems familiar, echoing as it does an illustrated masterwork of an earlier generation: Raymond Briggs’s wordless classic, The Snowman. Yet while Briggs’s story ends in a minor key (the snowman, wondrously alive for a single night, melts away in the morning sun), Mudkin’s watery fate carries no sadness; nor does it offer, as The Snowman does, a tacit elegy on the transience of childhood. Gammell’s riotous watercolours (so ecstatically fluid they erupt like geysers on the page) affirm this distinction: mud, unlike snow, is chaotic and unsentimental. Not a medium for reflection, it is the stuff of pure play. As a result, Mudkin is nothing more and nothing less than a bit of good – if not entirely clean – fun. Recommended: 3 out of 4 stars.Reviewer: Sarah Mead-WillisSarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

Welcome to our inaugural issue!

The University of Alberta Libraries (UAL) is delighted to have the blessing of Dr Andrea Deakin and the Okanagan College Library to assume all responsibilities of the eponymous “Deakin Newsletter” (www.okanagan.bc.ca), which is now renamed “The Deakin Review of Children’s Literature”. An enthusiastic team of book reviewers and editors from UAL will review English language children’s books and publish thoughtful reviews and recommendations using a four star system (four stars: highly recommended; three stars: recommended; two stars: recommended with reservations; one star: not recommended). With so many children’s books published each year we know that it can be a dizzying task to find the good ones, so we will make every effort to review at least 25 books in each issue (published quarterly), including pop-ups, ABCs, young adult fiction, picture books, ebooks, board books, and works of non-fiction. Nearly a year ago I had the opportunity to meet Dr Andrea Deakin over lunch and we talked for hours about children’s books. Her enthusiasm was infectious and I was in awe when I learned that she had been reviewing children’s literature in Canada for nearly half a century. She explained that her career as a teacher and book reviewer had offered so many rewarding opportunities to promote children’s literature, and in retirement she continued her prolific book reviewing activities in an electronic newsletter hosted by the Okanagan College Library. She was recognized for her exemplary contribution to the humanities when Okanagan College awarded her an honorary Doctor of Letters degree in 2004. Dr Deakin has earned her reputation as one of the great champions of children’s literature and we are greatly honoured that she has given us this wonderful opportunity to launch a new journal in her honour. The reviewed books will be catalogued and processed as a non-circulating special collection, The Dr Andrea Deakin Collection of Children’s Literature, which will be stored at the University of Alberta’s Book and Record Depository, and made available to researchers in the reading room of the Bruce Peel Special Collections Library. We welcome your comments and suggestions about our publication, so please send me an email if you wish to get in touch. Best wishes for a pleasant summer, filled with splendid children’s books! Robert DesmaraisManaging Editor

The Honeybee Man by L. Nargi

Nargi, Lela. The Honeybee Man. Illus. Kyrsten Brooker. New York: Schwartz & Wade, 2011. Print. This charming picture book chronicles the unconventional cottage industry of Fred, a Brooklynite who spends his spare time tending three colonies of honeybees housed on the roof of his townhouse. As the day unfolds, we follow Fred’s bees as they fan out across the borough, bringing back nectar from the herb gardens, flower pots, and even wild blueberry bushes flowering therein. Fred then harvests the honey and distributes jars of it to his neighbours. With this growing popularity of urban agriculture (and urban apiculture), Nargi’s story is a timely one, clearly aimed at progressive young families interested in the connection between local ecology and human community. The book is transparently but not disagreeably didactic: bee behaviour is examined and explained (both within the context of the story and in a two-page appendix), and the processes of beekeeping and honeymaking are illuminated through Fred’s perambulations within his apartment-cum-apiary. Brooker’s illustrations, a combination of gestural painting and collage, have a patchwork, handmade quality well suited to the book’s overarching preoccupation with all things organic and homespun. Her renderings of Brooklyn’s brownstone vistas are simple in their bright, flat planes of colour, but also satisfyingly dense with decoupaged texture and detail. Like the honey made by Fred’s “tireless Brooklyn bees,” her artwork is both a concentration - and a sweetening - of the teeming heterogeneity of urban life.Highly recommended: 4 out of 4 stars Reviewer: Sarah Mead-Willis Sarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

Dead Time by C. Conlin / Shelter by J. S. Lee

Conlin, Christy A. Dead Time. / Lee, Jen S. Shelter. Single Voice Series. Toronto: Annick Press, 2011. Print. It is difficult to say which of these brief cold showers will leave you feeling happier to leap back into the warmth of the everyday. Presented back-to-back in a single volume, both novellas share an unhappy preoccupation: picking apart the threads of the past in order to untangle – or at least understand – the enmeshments the present. The narrator of Dead Time is Isabella, a teen awaiting trial for a crime which, she repeatedly insists, she did not commit. It was her boyfriend who murdered the interloping Lulu; as soon as he confesses his guilt, Isabella will be released from the grim “youth center” where she awaits trial. Author Christy Ann Conlin deploys the first-person voice masterfully— Isabella’s rage beats palpably from the page, and we are righteously indignant on her behalf. Yet the further she beckons us into her memory, recounting the events antecedent to Lulu’s murder, the uglier and less justifiable her anger becomes. So gradually is the reader’s sympathy eroded that the story’s final twist – though dimly visible all along – still manages to come as a surprise. Though more straightforward than its companion novel, Jen Sookfong Lee’s Shelter is no less dispiriting in its outcome. We begin at the unhappy end: our narrator, Abby, weeps alone on a park bench. Even before her latest catastrophe, it would seem she has plenty to cry about: maimed by debt, her parents abide in private misery, leaving Abby to run a singularly thankless household. Her only solace is a volunteer job at the local animal shelter, where she meets a beguiling young man named Sean. We know Abby’s infatuation with Sean will end badly, but the form and flavour of this badness is not revealed until Abby fully unspools her dismal yarn. Though hampered by some awkward turns of phrase- “… it feels like he’s always been part of me, like an elbow” - the story succeeds as a meditation on the blurred line between the security of a shelter – be it a house, a family, or a lover — and the confinement of a trap. Pitched at mature but not necessarily avid readers, Annick Press’s Single Voice Series entices with the promise of gritty, fast-moving narratives packaged in a clever two-for-one reversible format. Both Dead Time and Shelter are certainly gritty and, at less than 100 pages a pop, fast enough to read in one go. It is unclear, however, what the effect on their intended audience might be. Comfortless in their brevity, joyless in their details, these novels do little to stir the imagination or assuage the loneliness of the young reader. At best, they offer a frisson of discomfort, a chilling affirmation of vague adolescent unease: the world is indeed out to get you.Recommended: 3 out of 4 stars Reviewer: Sarah Mead-Willis Sarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

Sylvia Brown, John Considine and Amie Shirkie (Curators) Marginated: Seventeenth-Century Printed Books and the Traces of Their Readers (Bruce Peel Special Collections Library, February 15–May 15, 2010).

Sylvia Brown, John Considine and Amie Shirkie (Curators) Marginated: Seventeenth-Century Printed Books and the Traces of Their Readers (Bruce Peel Special Collections Library, February 15–May 15, 2010).