fears

A Little Bit Brave: Sketches by Nicola Kinnear

a little bit braveFrom the moment I set eyes on Logan, the stay-at-home bunny who features in A Little Bit Brave by Nicola Kinnear, I rather fell for him. Logan is first seen sitting comfortably and knitting, a steaming mug nearby, alongside a bookcase almost as packed as mine. He is listening, rapt, to the daring adventures of his companion Luna – herself mid-leap, wooden spoon thrust as if it were a sword, as she acts out her latest adventure with passion and zest.

All of Kinnear’s drawings are equally immersive in this book about plucking up the courage to have adventures. Logan does eventually venture outside, away from his knitting, and tries to join Luna in her adventures, but the world outside can hold danger, and in the end he might have to face up to it alone – albeit to save his friend.

There’s a great camaraderie between Logan and Luna, which takes a simple but effective look at wanting to please a friend and sticking up for them, but also how enormous courage surfaces when confronting dangers.

Kinnear effectively explores the colours and sights of the natural world in her imagined woodland, giving the animals enough anthropomorphic features to render the scenarios and behaviours familiar to a young child.

Here, Kinnear shows the fun she had in creating her two rabbits, and kindly gives us an insight into her creative process:

brave

“These are some early sketches of the characters, Logan and Luna. I really love this part of the project where I can play around with creating characters, figuring out how they are going to look and what their personalities are.”

“I knew from very early on, that the story was going to be about two very different, contrasting rabbits; one brave, and the other scared. The rabbits were really fun and expressive to draw and I could use their ears a lot to convey their emotions.”

A Little Bit Brave by Nicola Kinnear (Scholastic) is available now. You can buy a copy here. It’s a glorious new picture book, perfect for scared little ones, or those being brave and confronting adventures.

The Light in the Night Giveaway

light in the night
A few weeks ago I reviewed The Light in the Night by Marie Voigt, a new picturebook about overcoming fear of the dark, and helping others. It explores the notion that bravery can only be found if one confronts one’s fears – that reward comes from adventure.

Marie Voigt’s aim with her picture book is to inspire and delight, to have a small impact on making the world a little bit brighter and happier. And this book does exactly that.

You can read the full review here. It’s a very special book, winning over the reader with its adorable cuddly illustrations. Although I’d love to give away replica cuddly bears, all I can offer is books!

To celebrate this very special picture book, I have three hardback copies of the book to give away, thanks to Simon and Schuster publishers. To win one of these, simply find @minervamoan on Twitter and retweet the Light in the Night blogtour tweet from today to win.

Sam Wu: A Conversation

Sam WuSometimes the best ideas come from collaboration. The junior fiction Sam Wu series is a lively and fun introduction to chapter book fiction for newly emergent readers. Featuring a truly funny main character in Sam Wu, with a loveable and realistic family including younger, and more confident, little sister Lucy, and wise grandma NaNa, this depiction of a Chinese family is refreshing and comes from author experience. Katie and Kevin Tsang have developed their winning main character and his group of friends in three books now, as Sam and companions lurch from adventure to adventure.  In Sam Wu is Not Afraid of the Dark by Katie and Kevin Tsang, illustrated by Nathan Reed, Sam and his friends take a camping trip away from Lucy and NaNa, but the book roots itself firmly within Sam’s tight friendship group. The Tsang author team showcase the magnificence of children’s imaginations, as more often than not Sam and his friends make their own adventures by imagining the scarier elements of life, all the time remaining within the safe sphere of their childhoods. With dynamic type and graphics, illustrations on almost every page, and lots of jokes, this is a great little series to enthuse young readers for chapter books.

A camping trip is a marvellous way to explore the bridge between childhood security and their growing independence, and as with Pamela Butchart’s There’s a Werewolf in my Tent, Sam and his friends imagine all the horrors that might come up to their tent in the dark. They also take a brave trip to a cave, and attempt to stay awake all night around the campfire in order to see off any nasty creatures or aliens that might share the woods with them. In the end, of course, all creepy noises are easily explained, and Sam Wu lives to breathe another day. Here, Katie and Kevin interview each other to explore the enjoyable elements of Sam Wu, their enthusiastic banter indicative of the fun, energy-filled dialogue within the book:

Photographer: Chris Close

KATIE AND KEVIN INTERVIEW 

Katie: I’m excited to interview each other!

Kevin: Me too!

Katie: I’ll go first. What are you most afraid of?’

Kevin: Sharks!! Researching for SAM WU IS NOT AFRAID OF SHARKS was very scary. But I also think sharks are awesome!

Katie: You really are very afraid of sharks.

Kevin: Okay, my turn. In SAM WU IS NOT AFRAID OF GHOSTS, Sam serves his friends Chinese food. What Chinese dish would you serve your friends?

Katie: I wish I was better at cooking Chinese food! I would probably take them to a Chinese restaurant. We’d either go out for dim sum (one of my favourites!) or to Sichuan (super spicy!) or for Peking duck. Like Sam, I love roast duck!

Katie: I’m stealing your excellent question that you asked me about what Chinese food I’d serve my friends. What would you serve?

Kevin: I’d take them for Peking Duck, like Sam! And I’d also make them try turnip cake.

Katie: I don’t believe that you’d make them try turnip cake

Kevin: That is just because you don’t like it.

Katie: Sometimes I do! It just isn’t my favourite.

Kevin: Speaking of favourites, who is your favourite character in Sam Wu?

Katie: Lucy is my secret favourite. I love how brave and bold she is. It was important that we portrayed positive sibling relationships. I also love NaNa.

Kevin: I have to admit, my favourite character is SAM.

Katie: Well, what is your favourite part about writing Sam Wu?

Kevin: Working with you!

Katie: Other than that, because that is obvious.

Kevin: I love seeing Nathan’s illustrations! He’s SO good. And the design team at Egmont is amazing too.

To buy a copy of Sam Wu is Not Afraid of the Dark, click here.

The Light in the Dark

It’s the time of year when the days are getting longer, and the Christmas lights at teatime are just a memory. But with January weather in London, the evenings are still very dark. For some children (and adults), the darkness of winter brings sadness and even fear – dark can be scary for many – altering shapes in the darkness, the fumbling unknown of not being able to see, shadows springing unbidden. When I was little, I took great comfort in The Owl Who Was Afraid of the Dark by Jill Tomlinson, enjoying Plop’s discovery that other people like the dark for many different reasons. Dark was super, and kind, and exciting.

Four newer picture books aim to shine a light on the fear of darkness too. And they are all fantastic.

light in the night
The Light in the Night by Marie Voigt
Betty has no fear of the dark and enjoys bedtime for her bedtime stories. But when a Bear from one of her books comes to life, she must help him overcome his fear of the dark – and in turn he might help her too. On the surface, this is a simple book with adorable illustrations – a cuddly bear whose every expression shows on his face, a small intrepid child. And yet there is more depth – this is not just a book about conquering fears, making friends, or helping one another. The climax of the story draws out the notion that one has to try new things and this may entail showing incredible bravery in the face of darkness. Rewards come from adventure.

The ending is also particularly sweet and clever – the bear and Betty dance and sing back home; their fear masked by a togetherness in hope, and their shadows when they arrive home aren’t the scary shapeshifters of most fiction, but tall and proud elongated reflections. This pair have inner strength. Voigt’s illustrations feel animated – and each scene shows prescience in the story to come, as well as the character within. The pictures on Betty’s walls are of adventures, the bedtime book foreshadows the adventure she is to take, and the different illustrative perspectives of the woods show the reader when something familiar and normal can become scary and vice versa. Conquer your fears here.

the rabbit the dark and the biscuit tin
The Rabbit, the Dark and the Biscuit Tin by Nicola O’Byrne
A slightly different issue in this picture book with a lift the flap element, in that Rabbit just doesn’t want to go to bed. And if it doesn’t get dark, he won’t have to. So he traps the dark in a biscuit tin. The consequences, of course, are that Rabbit upsets a lot of other animals – the bats and owls and foxes. But the really excellent part of the book is the dialogue between Rabbit and the Dark, as the Dark tries to negotiate its way out of the tin. In the end, it’s Rabbit’s ability to empathise with others that makes him open the tin. This gradual awareness of the needs of others mirrors the development of a child – recognising others and feeling empathy for them.

O’Byrne cleverly uses her illustrations to mirror this point, highlighting Rabbit’s grumpiness and own desires with subtle use of ear positioning and body language, before the joy of doing things for others is shown all over Rabbit’s face.

The Dark is neatly personified in the illustrations too – a dark hand reaching out for a biscuit, but in the end the Dark is shown in its glory – it is necessary, and exciting, and rather wonderful. Open your own biscuit tin here.

elephant that ate the night
The Elephant that Ate the Night by Bing Bai, illustrations by Yuanyuan Shen
A not dissimilar theme in this Chinese tale of a dark mushroom forest and the night that grows over it at the end of every day. The baby animals are scared of being swallowed by the darkness, and invite Awu the elephant to swallow any lurking darkness himself. He does, and as he does, his stomach gets fuller, illustrated by a growing blackness across his grey skin. When he’s satisfied he pats his tummy and sleeps. But the animals soon realise that they need the darkness for sleeping, and they implore Awu to spit it back out.

The repetition of sounds and phrases make this a perfect bedtime read, and the quirkiness of the illustrations – the elephant’s pink toes, the colour palate of yellows and greys, the patterned trees and the animals’ teeth – make this stand out from the average picture book. It treads on the edge of fear, without being swallowed by it completely. Find your bravery in the shape of an elephant here.

king who banned the dark
The King Who Banned the Dark by Emily Haworth-Booth
This picture book came out earlier last year, and takes the premise of no darkness one step further. A prince who is afraid of the dark bans it completely upon becoming King, installing an artificial sun and enforcing anti-dark laws.

However, there is much more to this story than the fear of darkness. The King has to win over his people, persuading them why darkness is so terrible, and sustaining his argument. Manipulative marketing morphs to a slow brainwashing. But before long, the people start to revolt.

With pages that stimulate discussion on propaganda, and selling a story, as well as distortions of the truth, this is an up-to-the-minute picture book that deals with an age-old fear in a very modern way. It analyses what makes people happy, and how people can be manipulated to think they are happy with the way things are, as well as exploring freedom of speech, tyrannical rule, and of course, the power of darkness.

And the illustrations are different too – although almost all in shades of grey and yellow, there is careful thought behind light innovations – a lamp hat, the power of torches, an array of light shops, candelabra dripping with light – but also the scariness of the dark, the creeping shapes and shadows, the stealth behind cover of darkness, and also its magnificence. Buy your own princely beam of light here.

Cover Reveal: Good Boy by Mal Peet, illustrations by Emma Shoard

In our busy lives, it’s not often that a book arrives and sweeps everything else away – work, washing, worrying. The late Mal Peet had a way with words that was more than immersive – his stories have the power to create not only belief in the authenticity of the story, but a whirlwind of sensation and wonder, a lasting sense of intelligent thoughtfulness. Good Boy is an unsettling novella, published by Barrington Stoke in a slim yet captivating volume that features Shoard’s emotive illustrations, enhancing and emboldening Peet’s text. With content aimed squarely at the YA audience, yet a reading age of 8, this is an accessible story, an examination of fear that leaves the reader ruminating and discussing long after the final page.

Sandie has been battling it since childhood: the hulking, snarling black dog of her recurring nightmare. Although a solution is found during childhood, it is the black dog’s return in adulthood that will test Sandie’s courage to the limit…

I’m delighted to showcase the cover for Good Boy. For me, Emma Shoard’s cover bristles with both menace and vulnerability. What do you think? Read Emma’s view below:

good boy

Emma Shoard says:

Though this cover went through quite a few variations, we always wanted it to show the black dog and for the overall impression to be dark.

I wanted to make something of the juxtaposition between the image of the nightmarish black dog and the title, Good Boy. I like the way that it makes you look again and see his moon eyes and hunched shoulders in a different light, perhaps interpret the posture as protective, curious, monumental even, not just menacing. I needed this to come cross in my illustration so it took quite a few attempts to get him right. The result is a design which I hope reflects the ambiguity of Mal Peet’s story.”

Fear stalks us all in some way or another, and this is a masterful way of exploring where it comes from, how it manifests itself, how we deal with it, and if we can overcome it.

On reading the novella, the reader senses immediately the confidence of the writing, the simplicity of the story, yet the powerful insight of Peet’s observation and reflection. A girl is comforted by ‘the biscuity smell of her mother’s bed-warmth’, a dog has ‘wet black button’ eyes in a patchwork head, a building on an estate is ‘a huge slab of a place jutting rudely up into the sky’. And Shoard’s illustrations run through a gamut of feelings with just a few brushstrokes – a mother’s embrace, a pet dog’s vulnerability, the darkness that lurks in us all. A haunting, captivating, ambiguous story. Don’t miss this one. It’s published on 15th March 2019.

World Mental Health Day

It is World Mental Health Day today, and research from University College London shows that the number of children and young people with long-standing mental health issues is soaring, rising six fold from 1995 to 2014. Whether it’s pressure from school, social media, or the pace of our world, it’s clear that all agencies are interested in building resilience and promoting emotional and mental wellbeing in our children. There’s only so much schools can do (despite the govt promising training for teachers in dealing with mental health issues in the classroom), so much of it is left to parents.

I’ve been listening to Ester Perel’s psychology podcast, and although she’s known for her books on grown up relationships and fidelity, this particular podcast was on parenting. Her advice is stellar; insightful and sympathetic whilst being wise and objective. How do we make sure our children grow up to be happy and confident, yet also thoughtful and good citizens? How do we make sure that they come and talk when they are scared or sad and how do we listen so that we don’t show a matching fear or sadness or disappointment? I think whenever I need help with anything I turn to those closest to me, but I also receive much wisdom from books.

70 Ways to Boost Your Self Esteem70 Ways to Boost Your Self-Esteem by Jenny Alexander
I’ve started with this excellent book for two reasons. Firstly, having good self-esteem is essential to mental well-being. If you love and feel proud of yourself, you will recognise your own value and importance and consequently you will take good care of yourself, make good decisions and have a positive outlook. Don’t we all want that for our children? Secondly, self-help books can be rather worthy enterprises – for author and reader. We read the book and think, hmm that sounds good, but we never actually put it into practice. Especially when it’s an abstract concept. It’s one thing following a recipe in a diet book, quite another thing to improve one’s self esteem. But this book not only explores what self-esteem is, and why it’s good, but sets tasks at the end of each chapter to achieve good self-esteem. And the tasks are fun.

It splits the steps to gaining self-esteem into seven parts – each with its own designated chapter, example, and tasks. For example: being the hero of your own story; getting life goals; recognising weakness; and celebrating oneself. There’s also a chapter about awareness of others and respect for other people, because although this is about the individual, it’s important that each individual can operate within the real world and work in collaboration with others.

What’s more the tone is friendly – certainly not patronising, with a quirky personality shining through, so that you feel as if the author is a real person talking to you. With some quizzes, diagrams and funny cartoons, the book is set out with plenty of breaks in the information flow so that the reader doesn’t feel overwhelmed. There’s good advice on setting goals and addressing failure, but most importantly clarity and perspective on being one’s own person and getting to know oneself. Having listened extensively to Yuval Noah Harari on our changing world, one of the most important qualities a person will need is self-knowledge and awareness. Why not start them young? For 7+ years (I would add, with parental guidance too). You can buy it here or visit Jenny Alexander’s website and buy it there.

the book of no worriesThe Book of No Worries by Lizzie Cox and Tanja Stevanovic
Speaking of Yuval Noah Harari (whose adult books are excellent btw), this book starts with a section on mindfulness. If you have a child who lies awake at night worrying, or who frets like AA Milne’s old sailor: “There was once an old sailor my grandfather knew, Who had so many things which he wanted to do That, whenever he thought it was time to begin, He couldn’t because of the state he was in,” then this book might help.

With full-colour throughout and bite-size chunks of information, Q and A’s and lists, this is an interesting book that aims to dip in and cover lots of subjects with the intent of calming worries. There are so many topics though, that the advice can feel a bit fleeting, the issues skimmed. However, for short attention spans, this might serve well.

Of course the thing about worries is that they can multiply like bacteria – so honing worries is hard. The book addresses surface worries about school, stress, friends, appearance, puberty, family and love. The advice is slim, but picks out the key points – particularly on social media, by explaining that likes don’t measure worth, and when to stop looking at the phone.

I think what I like best about the book is that in almost all scenarios, one of the key pieces of advice is to talk to someone. For a snapshot of dealing with life’s worries for those approaching and going through puberty, this is a good dip-in guide. You can buy it here.

sign hereSign Here by Gabrielle Djanogly, illustrated by Adele Mildred
This intriguing new activity book is what I’d call a self-help book by stealth. Appparently inspired by playing with mini post offices when little, Djanogly has created a book of forms to fill in that encourages a child to express their emotions, albeit surreptitiously through play. Djanogly imagines a new world of bureaucracy, including The Department of Regret, Remorse and Reconciliation, the Union of Childhood Revenue, the Ministry of Dreams and so on, although this is not some Orwellian nightmare of red tape and officialdom, but a neat way for a child to express emotions and thoughts that may not be so easy to articulate. Thus, saying sorry or thank you, and even filling out the form titled ‘Declaration of Sad’ may better hone a child’s feelings and enable them to decipher where they are coming from and even what’s causing them. There is a tick box for ‘I don’t know, I just feel sad’ as well.

There are plenty of forms for happy occasions too, including the Birthday Party form issued by the Board of Celebration, which my youngest has no problem putting into words, but I’m sure she’d delight in this ‘official form’ to hand over requesting which cake etc. All the forms have authenticity stamped all over them, with logos, frames, tick boxes, signatures, a variety of fonts and so on, and each is neatly printed on good quality paper that is easily detached from the book via its perforated edging. The publisher even recommends photocopying the forms so that they can be re-used.

As well as declarations of sadness, fear and happiness, there are also forms to say sorry, to say thank you, to request a raise in pocket money, a contract with a babysitter, a Christmas present request form, a lost property form, a pet request form and a tell me a story form, as well as many more. Because the deeper emotions are sat alongside the everyday requests, it normalises the emotions and helps to make them everyday things to be shared. There are also ideas for making things better – the Acknowledgement of Anger Form includes tick boxes for requesting a hug or stomping around. Both can be ticked! Lots of asterisks in places allows the author to interject with warmth and comfort:

“**sometimes needing a hug is tricky to admit. If you want a hug, make a BIG tick in the box so that it can be spotted quickly.”

A fun way to express oneself. Apply for your forms here.

 

 

Autumn 2018 Picture Book Round-up 1


The Best Sound in the World by Cindy Wume
A debut picture book that will strike a chord with readers, it tells a simpatico tale of a lion who wants to capture the best sound in the world. He tries to imitate the sounds he hears by reproducing them on his violin – but nothing sounds quite right, particularly with annoying neighbour Jemmy dancing, clapping or singing along to the music. Roy the lion leaves on a mission to find the most beautiful sound and explore the world, but realises in the end that the most beautiful sound is back home – the music he makes with his neighbour, and now, friend.

Wume’s gouache, coloured pencil and ink illustrations are detailed and wondrous, conveying precisely the mood of each page – from the monkeys leaping in the forest to the train rumble in the city. What’s more, her vocabulary pitches perfectly when pulling out each sound – from the pling of the rain to the chitter-chatter of the market. There is much to explore and disseminate here, from the mix of rural and urban, to the clever use of movement to convey dance and sound. The message of course, is that friendship wins out, and what you’re looking for is often within rather than in the outer world, but there are also subtler issues around observation and subjectivity. If nothing else, it will make the reader appreciate the sounds around him/her in the everyday world. Aesthetically astute, intelligently observed and warm. You can buy it here.


Sing to the Moon by Nansubuga Nagadya Isdahl and Sandra van Doorn
Even from the front cover, reality mixes with magical realism in this universally themed book of what to do on a rainy day. Ever since before The Cat in the Hat: “The sun did not shine, it was too wet to play. So we sat in the house all that cold cold wet day,” the weather has been a source of inspiration for writers. Used well, it can dictate mood, create atmosphere, and influence plot. This rainy day is during the rainy season in Uganda, and the source of inspiration for the child’s use of time is not a cat in a hat, but the child’s Jjajja – the grandfather.

This is a good introduction to Ugandan life. This child completes chores with his Jjajja, from packing peas to clearing the veranda, but all the while is engrossed with the tales his grandfather tells. The day passes quickly, and is filled with the dreams and stories of the past and the future.

Domestic detail sings from the pastel illustrations, but there are also wishes and dreams spun and illustrated as the boy thinks of the adventures he would take. The illustrative stickmen figures with large heads create a further dreamlike status, and the text rhymes in a rhythmic fashion, almost as if to the beat of the rain itself. Children will appreciate the mischievous white dog on each page – but I particularly enjoyed the descriptive language: ‘the clouds spread like a charcoal stain’, and ‘the drops…muddle the view’. Comforting and illuminating. You can buy it here.


The Dress and the Girl by Camille Andros, illustrated by Julie Morstad
We are taken back in time in this lyrical story of immigration, which begins in a slightly idyllic Greece, with donkeys, blue skies and days of freedom at sea and in the fields. But these large vistas with their white buildings and flowered landscapes are not enough and the family long for change. The family immigrate to New York, and upon arrival the girl and her beloved dress are separated. Here, the dress takes on its own persona and searches for the girl. Years later, they are reunited and the dress fits the girl’s own daughter.

Nostalgic illustrations give good period detail, and tell a tale with their muted colours at Ellis Island. At the same time there is a clarity and sharpness to the drawings, as if they have been rendered with a precision that conjures months and years in small pen strokes.

This is not a refugee story of migration, but a desire for an easy passage and a better or even just different way of life, which makes an interesting contrast to recent picture books about modern migration, such as The Journey. The Dress and the Girl is worth examining for the opening and closing spreads and their theme of separation and reunion – a complete circle if you will, as well as an examination of memory and possession. You can buy it here.


Daddy Hairdo by Francis Martin and Claire Powell
A light-hearted look at hair in this delightful picture book about overlong hair and the passing of time. Amy doesn’t have much hair when she’s born, and her Dad has plenty. But then her hair grows, and her Daddy’s seems to disappear. After considerable searching for it, they settle on dealing with the problem of Amy’s hair, which is becoming inconvenient due to its length. Amy’s Dad comes up with some incredible solutions, before reason kicks in.

This is a wonderfully amusing book for anyone who’s ever de-tangled a web of hair, and a cool nod to crazy fashions. Francis Martin lets loose his inner child with some excellent wordplay – hair-raising of course, while Powell has immense fun illustrating hairstyles with aplomb – accentuated by wonderful facial expressions. This is a fun, giggling-inducing picture book, and one which also celebrates the father/daughter relationship with zest and affection. You can buy it here.


Fearless Mirabelle by Katie Haworth and Nila Aye
Perhaps it’s the celebration of individuality, or having confidence in your own unique skill set, or looking after your sibling, but this picture book appeals on so many levels. There’s the circus element, which is always a winner, and the attention to quirky detail, such as Mirabelle balancing on a galloping horse on one leg, whilst eating a bowl of cereal.

Mirabelle and Meg are identical twins, but although Mirabelle is fearless in the circus, Meg is scared of heights. When they realise that Meg’s asset is her ability to speak in front of a crowd (which terrifies Mirabelle), the girls realise that together they can be a supreme double act.

The limited colour palette of primary colours, with black and white, makes for a distinctive look – the characters look a little like friendly Coraline’s, and children will delight in the veneer of simplicity in the scribbled illustrations – they are stylish and endearing – like sugar candy with an edge. Different typefaces explore direct speech, capitals are used for emphasis. Much to look at, just like the circus. You can buy it here.


How to be a Lion by Ed Vere
Or how not to conform to type in this fairly new picture book from Vere. Here, Leonard the Lion isn’t a roary hunter but the sort of lion who likes to ponder upon his ‘thinking hill’, and write poetry. When bullied by the pride for not devouring a duck whom he has taken as a friend, Leonard and Marianne the duck collaborate on a poem to explore individuality.

It may sound whimsical but Vere’s thick black outlines convey a ruggedness to the story, and the book publishes at an apt time as society rethinks its stereotypical view of masculinity. It’s a call to not bend to peer pressure, and the tightness of the text brings the message home without sentimentality. A celebration of creativity and words too, and of the benefits of thinking rather than being the loudest voice in the room. Bold oranges and yellows bring to mind the African Savannah, and as always with Vere, there is abundant humour tucked in with the message, wit in both text and picture, and a great understanding of the rhythm of the language. A proud and majestic picture book. You can buy it here.


Can You See a Little Bear by James Mayhew and Jackie Morris
A new gift edition for 2018 with phenomenal production quality, this much-loved picture book first published in 2006. Aimed at younger children, with its delightful premise of ‘seeing’ not only the little bear in different imaginative landscapes, but also spying patterns and colours, contrasts and opposites within Morris’s exquisitely beautiful illustrations, this also feels relevant for older children and artwork students because of the theatrical and circus settings, and the sumptuousness of the watercolours.

The text rhymes, and its intent is to pull you into the pictures, leading the reader to spy and spot certain things, but it also captures the soporific tone that has affected the bear – this is a dreamscape after all. The incredible detail of the illustrations, depicting medieval scenes, wild landscapes and exotic buildlings, before gently falling back into the more domestic sphere of bathtime and bedtime under the moon, will entrance adult and child alike. You can buy it here.

You’re Safe With Me by Chitra Soundar and Poonam Mistry

you're safe with meThere’s something about the physicality of a book that can’t be matched. Perhaps that’s why, as Egmont report in their Print Matters findings, 94% of children’s books bought in 2017 were purchased in their print format. If we look to history, it was the most important texts that were physically preserved – revered for the time invested in them. The Grimm Brothers saw the necessity of the oral folk tales, and therefore wrote them down. And picture books earn their place in this tradition of printed matter, with the attention to detail and care that goes into them.

Mass printed they might be, but sometimes picture books are so beautiful they appear as if they have been created with the individual reader in mind. This latest picture book, You’re Safe With Me from Chitra Soundar and Poonam Mistry, catches the eye with its lyrical prose, but also stands out for its stunning design, which calls up the kalamkari tradition of textiles, apt because the name derives from the Persian words for pen and craftsmanship – and this book does feel like a piece of exquisite craft.

It is a dark and stormy night, and the baby animals within the Indian forest are scared: a monkey, a loris, a tiger and a pangolin. Two familiar animals, two rather more exotic – familiarity for cosiness, and exotic for exploring and learning. Looking after them all is Mama Elephant – her size and wisdom providing solace and comfort.

A ‘Raindrops on Roses’ story for the young, this is a more in-depth and intelligent soothing of fears. Mama Elephants attempts to explain, with her scientific knowledge, the logical reason for the storm – why the wind blows, why the thunder clatters, why the river rumbles. In doing so, she explains the weather cycle – the ability of the wind to bring seeds, the rain to cause them to grow, the river to take the water back to the sea. But her language is poetic; and she speaks in a rhythm that soothes like a lullaby.

By naming each sound for the babies, and then explaining its purpose, she dispels their fear with understanding – a lesson for our times. This feels like an old fable, brought up to date with understanding and modern sensibility. An emotional attachment is formed with the animals, and a sense of relief in their comfort, much like the smell of Earth after a rainstorm.

But it is the illustrations that propel this book and make it so much more than a comforting bedtime read. The patterns on the page, the fusion of geometry and art, are drawn with a richness, almost a hypnotic quality. The reader sees the shapes of the animals, but each is so exquisitely drawn, etched with colour and design, so that the frogs are both stark against their background, but also blend into it with a riot of line and pattern. The fish swim on a background of blue circles, the lightning sparkles against a black background of shining diamonds and circles. It is absorbing, glossy and appears almost three-dimensional in its intricacy.

You’re Safe with Me is a triumph of a picture book. The rhythm of text and illustration sweep the reader into the story. I can imagine children hugging it to sleep, the physicality of this book reassuring and mesmeric. You can buy it here.

A Q&A with Bryony Thomson

It was the lampshades that frightened me. Pink, gentle tulips by day; at night after lights out, they morphed into vicious monsters with lightbulb tongues.

Many children imagine some kind of monster in the darkness while they lie in bed after lights out, and it can take parents several trips and opening and closing of wardrobes to reassure them. So what relief to find a book that helps to assuage fears.

The Wardrobe Monster by Bryony Thomson explores what makes Dora and her toy friends afraid to go to sleep, and grouchy the next morning. It actually is a monster in the wardrobe, but this monster is as scared as they, and so they all snuggle in bed together, until another bump gives them a fright.

Thomson’s book is delightful in its premise, but most particularly in its illustrations and depiction of Dora and her soft toys. They are as lifelike as Woody and Buzz, and inflected with as much personality as Pooh, Eeyore and friends. The Wardrobe Monster is Bryony Thomson’s debut picturebook, and from this superb start, it’s easy to see that she’ll go far.

A firm favourite here already – I look forward to gifting it to friends’ small children. There are so many exquisite touches, from Dora and friends stalling bedtime, to addressing the wardrobe monster as ‘Mr Wardrobe Monster’, to the play on Lion’s bravery; but my favourite is the constant affection and intimacy between Dora and her toys. Beguiling and comforting, this is an adorable and pleasurably happy read. I was lucky enough to quiz Bryony on her debut:

The Wardrobe Monster is a comfort book for those children who have a fear of the dark. How did you counteract this fear when you were young without The Wardrobe Monster to help you?

I’m not sure I had a very good system – that’s partly why I wanted to write The Wardrobe Monster. I had a very vivid imagination as a child and can remember lying in my bed at school as various pipes and bits of furniture in the enormous dormitory creaked and groaned, making up all sorts of possible scenarios for what could be causing the noise. That would usually go on until I couldn’t keep my eyes open any more!

The soft toy teddies in your book all have distinctive characters, something the publisher compares to those in Winnie the Pooh. Was that an influence on you? And which other books/illustrations have influenced you?

I would definitely count Winnie the Pooh as one of the long term influences on my work. It was one of my favourite books growing up, in particular the incident where Pooh goes to visit Rabbit, eats too much honey and condensed milk and gets stuck in the rabbit hole. The characters all have such distinctive voices, I can still hear them in my head (the way my Dad used to read them) and that has had a massive influence on my storytelling.

In terms of other books and illustrations, I would say Rebecca Cobb’s books such as Lunchtime and Aunt Amelia. I love the simplicity of her stories and illustrations, there is a real sense of joy and magic to them. Laura Carlin has also been a big influence from an illustration point of view. When I began to study how her drawings are connected to reality and observation whilst at the same time incorporating a high level of stylisation it was a real revelation and opened a lot of doors. Somehow it gave me the confidence to let go of the need to make everything completely accurate and true to life.

The pictures in the book feel so warm and enticing to children because they look as if they were done in crayon. What medium did you do the book in, and which medium do you prefer?

The book is made with a combination of monoprint and pencil scanned in, layered together and then coloured in Photoshop. This process was something new I discovered while working on the early stages of this book and I feel it suits the story well.

I don’t know whether I have a favourite medium as I’m always trying to discover the best thing for a particular story. I do have a never ending love affair with screenprint but I find it rather too labour intensive for books; it is too much of a disaster when you get something wrong!

For me the choice of medium is always about creating a high enough level of uncertainty in the end result. I’m naturally a real perfectionist and so to fight against this I try to use media that I can’t fully control; often it is the mistakes or unexpected outcomes that lead to the biggest breakthrough in the artwork. I think that is why I like print techniques as you never really know how something is going to turn out until you’ve done it.

I adore the main character’s distinctive hair colour and matching slippers. Was this something that occured to you near the beginning of the process, or an inspired decision near the end?

Dora’s hair was pink right from the very first draft of the story – possibly because I’ve always wanted to have pink hair! What came later was the idea to incorporate some of the pink into the Wardrobe Monster to create a connection between the two characters. As if, even though this was an enormous scary monster, there was something in him that Dora could immediately recognise and empathise with.

You’ve avoided using gendered pronouns for the soft toys in your book. Was this a reaction to the recent survey regarding male gendered animals in picture books?

Whilst I thought that survey was incredibly interesting in terms of reflecting how we naturally tell stories, it wasn’t actually an influence on my decision; I made the choice right from the very beginning, a long time before the survey results came out. My reasoning was that I knew I wanted a female lead character in Dora – in large part because she represented me in the story – but I was very aware that I didn’t want to create a book that appealed solely to girls by designating the other characters as male or female.

I have a very clear idea in my head of the genders of the other characters because of who I have based them on in real life, but I wanted the reader to be able to see them in their own way.

You mention that you went to boarding school. Not many children are used to that concept now. Was it all midnight feasts and tuck shops?

Not really…there certainly was a tuck shop and the occasional midnight feast but mainly it was just lessons, really horrible school food and slightly old fashioned plumbing (my first school was in a very old stately home in Norfolk)! I went when I was 8 through until I left school at 17 and found it quite hard. You get used to the routine of being away from home but it doesn’t really make you miss it any less. What it does give you, however, is a fantastic education, as there are far fewer distractions and a lot of confidence in your own ability to cope with whatever life throws at you. Plus for me it gave me the inspiration for The Wardrobe Monster!

Do you have a favourite soft toy that you took/take to bed?

When I was born my grandmother made me a soft toy dog with long ears and a zip in her tummy for my pyjamas; I called her Debbie. She is now unbelievably battered and threadbare and is living out her well earned retirement at my Mum and Dad’s house.

Where do you do your illustrating? Do you have a particular desk/pen?

I have a little basement studio at our house in Surrey which I absolutely love! It is really quiet and peaceful and I can shut the door and get totally immersed in whatever I’m working on.

I don’t have a particular pen but I do have very specific tools for different jobs – for rough drawings and character development I need a Castell 9000 2B pencil and for monoprinting a Caran d’Ache Neocolor II crayon and Grafwood 3B pencil. I’d love to say that I’m really flexible and can pick up anything to draw with but if I don’t have those three things there is usually a bit of a crisis, followed by some speedy internet shopping!

Quickfire:
Favourite colour: Purple
Favourite biscuits: Dark chocolate digestives
Best TV show: Of all time? Buffy the Vampire Slayer
Most treasured childhood memory: Every year for my birthday we used to go to one of the local farms to see the new lambs, you could stroke them and pick them up, it was magical.
Best place in the world: Suffolk without a shadow of a doubt – that’s where I grew up.
Favourite childhood book: Hard to choose just one but Ballet Shoes by Noel Streatfield, I must have read it or been read it dozens of times.

With thanks to Bryony Thomson for answering my questions. You can find her website here, and seek her on twitter here. If you want to read more about Bryony Thomson, have a look here tomorrow for more on Bryony’s blogtour, and you can buy your own copy of The Wardrobe Monster here

The Light Jar by Lisa Thompson

the light jarLisa Thompson excels at illuminating the darker, scary and more painful side of life, even when it penetrates children’s lives, and then shining a positive light on the situation and making the world glow brighter with hope.

Her first novel, The Goldfish Boy, shed some light on OCD, its effects, misunderstandings about it by peers, and the wretched humiliation it can cause (and yet all neatly tied up in a children’s mystery book). This latest, The Light Jar, enlightens the reader about even darker issues, including the effects of psychological abuse, the terror of being abandoned, and fears about darkness, but again does so in a clever and warm way, so that it never feels as if the issues highlighted overshadow the story or are so dark that they are inappropriate for the readership.

Nate and his mother run away to a tumbledown cottage, seemingly in the middle of nowhere. On the second day, Nate’s mother leaves to buy provisions, but never returns. But it turns out, he’s not completely alone, for comfort shines at him in the way of friendship from a mysterious girl called Kitty, solving a treasure hunt nearby, as well as the surprising appearance of a friend from the past.

Thompson intersperses Nate’s fear of being left alone, and worry for his missing mother, with humour in the way of a stray chicken and Nate’s Magic 8 ball, and a simply marvellous book that Nate carries round called ‘Freaky Things to Freak You Out’, a type of non-fiction mystery book. The book inspires Nate to solve Kitty’s treasure hunt, and provides humorous elements to the story. Indeed, although Nate doesn’t forget his fearful situation, Kitty’s treasure hunt propels the plot with an engrossing mystery to solve, and actively involves the reader by including rhyming clues within the text.

But with light, comes darkness too, and here Thompson crafts it in the way of Nate’s memories, which gradually show that Nate and his mother are escaping an abusive relationship with his mother’s new boyfriend. No physical violence is explored, but instead a creeping psychological abuse that’s threatening and horrifying to live through. Thompson deals with this gently, and with enormous understanding. The most interesting memory is that of Nate bringing home a friend for tea, and how the boyfriend deals with the situation. The manipulation of the play date is well handled, and the author here cleverly invokes both incredible sympathy for Nate, as well as empathy with the friend, who although he doesn’t realise what is going on, and isn’t friendly afterwards, would enable the reader to think twice in such situations before dismissing a friend so easily – there may be much going on behind closed doors, and awareness and understanding are key.

There’s no technology in the book (mobile phones/wifi etc) – characters must do away with traceable technology when they’re on the run, and the lack of it adds an extra dimension to the story, as well as intriguingly letting the plot remain highly contemporary and realistic. At first, the book reminded me of The Secret Life of Daisy Fitzjohn by Tania Unsworth, another novel in which a child is seemingly abandoned by her mother and left within a crumbling house. And although there are similar fears and imaginings, The Light Jar soon veered off into different territory.

What both have in common though, is an expert handling of suspense, and text that flows effortlessly, engaging and enthralling the reader. Although The Light Jar has an horrific topic in the shadows, it feels both clever and warm and points to the wonder and light of friendship and hope.

There’s much light in Thompson’s writing; you’d be mad to keep it in the dark. You can purchase your copy here.