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Winner of the Governor General's Literary Award for Children's Illustrated Book
A New York Times Best Illustrated Children's Book of the Year
In this wordless picture book, a little girl collects wildflowers while her distracted father pays her little attention. Each flower becomes a gift, and whether the gift is noticed or ignored, both giver and recipient are transformed by their encounter.
Written by award-winning poet JonArno Lawson and brought to life by illustrator Sydney Smith, Sidewalk Flowers is an ode to the importance of small things, small people and small gestures.
Correlates to the Common Core State Standards in English Language Arts:
CCSS.ELA-LITERACY.RL.1.7
Use illustrations and details in a story to describe its characters, setting, or events.
Heather O Neill s critically acclaimed debut novel, with a new introduction from the author to celebrate its ten-year anniversary
Baby, all of thirteen years old, is lost in the gangly, coltish moment between childhood and the strange pulls and temptations of the adult world. Her mother is dead; her father, Jules, is scarcely more than a child himself and is always on the lookout for his next score. Baby knows that chocolate milk is Jules slang for heroin and sees a lot more of that in her house than the real thing. But she takes vivid delight in the scrappy bits of happiness and beauty that find their way to her, and moves through the threat of the streets as if she s been choreographed in a dance.
Soon, though, a hazard emerges that is bigger than even her hard-won survival skills can handle. Alphonse, the local pimp, has his eye on her for his new girl and what the johns don t take he covets for himself. If Baby cannot learn to become her own salvation, his dark world threatens to claim her, body and soul.
Channeling the artlessly affecting voice of her thirteen-year-old heroine with extraordinary accuracy and power, Heather O Neill s debut novel blew readers away when it was first published ten years ago. Now it s sure to capture its next decade of readers as Baby picks her pathway along the edge of the abyss to arrive at a place of redemption, and of love.
Featuring a new introduction from the author
CBC Canada reads winner, Paragraphe Hugh MacLennan Prize for Fiction winner, Orange Prize for Fiction finalist, Governor General s Literary Award finalist, International Impac Dublin Literary Award finalist
Praise for Lullabies for Little Criminals
A vivid portrait of life on skid row. People
A nuanced, endearing coming-of-age novel you won t want to miss. Quill And Quire
Vivid and poignant. . . . A deeply moving and troubling novel. The Independent (London)
O Neill is a tragicomedienne par excellence. . . . You will not want to miss this tender depiction of some very mean streets. Montreal Review of Books
At the urging of his friend Elijah, a Cree boy raised in reserve schools, Xavier joins the war effort. Shipped off to Europe when they are nineteen, the boys are marginalized from the Canadian soldiers not only by their native appearance but also by the fine marksmanship that years of hunting in the bush has taught them. Both become snipers renowned for their uncanny accuracy. But while Xavier struggles to understand the purpose of the war and to come to terms with his conscience for the many lives he has ended, Elijah becomes obsessed with killing, taking great risks to become the most accomplished sniper in the army. Eventually the harrowing and bloody truth of war takes its toll on the two friends in different, profound ways. Intertwined with this account is the story of Niska, who herself has borne witness to a lifetime of death--the death of her people.
In part inspired by the legend of Francis Pegahmagabow, the great Indian sniper of World War I, Three-Day Road is an impeccably researched and beautifully written story that offers a searing reminder about the cost of war.
Marie Clements's acclaimed play sears a dramatic swath through the reactionary identity politics of race, gender and class, using the penetrating yellow-white light, the false sun of uranium and radium, derived from a coal black rock known as pitchblende, as a metaphor for the invisible, malignant evils everywhere poisoning our relationship to the earth and to each other.
Burning Vision unmasks both the great lies of the imperialist power-elite (telling the miners they are digging for a substance to cure cancer while secretly using it to build the atomic bombs that devastated Hiroshima and Nagasaki); and the seemingly small rationalizations and accommodations people of all cultures construct to make their personal circumstances yield the greatest benefit to themselves for the least amount of effort or change on their part. It is also a scathing attack on the public apology as yet another mask, as a manipulative device, which always seeks to conceal the maintenance and furtherance of the self-interest of its wearer. Clements's powerful visual sets and soundscapes contain curtains of flames which at times assume the bodies of a chorus passing its remote judgment, devoid of both pity and fear, on the action: a merciless indictment of the cross-cultural, buried worm of avarice and self-interest hidden within the terrorism of the push to go with the times, to accept the iconography of a reality defined, contextualized and illuminated by others. Marie Clements writes, or, perhaps more accurately, composes, with an urbane, incisive and sophisticated intellect deeply rooted in the particulars of her place, time and history. Cast of five women and 12 men.
Once Upon a Northern Night has received starred reviews from Kirkus, Publishers Weekly and School Library Journal.
In this exquisite lullaby, the beauty and wonder of a northern winter night unfold, with images of a soft snowfall, the wild animals that appear in the garden, the twinkling stars, the gentle rhythm of the northern lights and the etchings of frost on the window pane.
As the young child sleeps, wrapped in a downy blanket, a snowflake falls, and then another and another. The poem describes the forest of snow-covered pines, where a deer and fawn nibble a frozen apple, and a great gray owl swoops down with its feathers trailing through the snow. Two snowshoe hares scamper and play under the watchful eyes of a little fox, and a tiny mouse scurries in search of a midnight feast. When the snow clouds disappear, stars light up the sky, followed by the mystical shimmering of northern lights - all framed by the frost on the window.
Jean E. Pendziwol's lyrical poem reflects a deep appreciation of the magic of a northern winter night where, even as a child slumbers, the world outside does not rest but continues its own natural rhythms.
Isabelle Arsenault's spare, beautifully rendered illustrations, with their subtle but striking use of color, make us feel that we too are experiencing the enchantment of that northern night. They simultaneously evoke winter's nighttime life and the cozy warmth and security of a beloved child's sleep.
Where the Blood Mixes is meant to expose the shadows below the surface of the author's First Nations heritage, and to celebrate its survivors. Though torn down years ago, the memories of their Residential School still live deep inside the hearts of those who spent their childhoods there. For some, like Floyd, the legacy of that trauma has been passed down through families for generations. But what is the greater story, what lies untold beneath Floyd's alcoholism, under the pain and isolation of the play's main character?
Loring's title was inspired by the mistranslation of the N'lakap'mux (Thompson) place name Kumsheen. For years, it was believed to mean the place where the rivers meet--the confluence of the muddy Fraser and the brilliant blue Thompson Rivers. A more accurate translation is: the place inside the heart where the blood mixes. But Kumsheen also refers to a story: Coyote was disemboweled there, along a great cliff in an epic battle with a giant shape-shifting being that could transform the world with its powers--to this day his intestines can still be seen strewn along the granite walls. In his rage the transformer tore Coyote apart and scattered his body across the nation, his heart landing in the place where the rivers meet. Can a person survive their past; can a people survive their history? Irreverently funny and brutally honest, Where the Blood Mixes is a story about loss and redemption. Caught in a shadowy pool of alcoholic pain and guilt, Floyd is a man who has lost everyone he holds most dear. Now after more than two decades, his daughter Christine returns home to confront her father. Set during the salmon run, Where the Blood Mixes takes us to the bottom of the river, to the heart of a People.
Where does the story start? Marie-Louise Gay explains the creative process with typical fun and whimsy.
Many children want to know where stories come from and how a book is made. Marie-Louise Gay's new picture book provides them with some delightfully inspiring answers in a fictional encounter between an author and some very curious children, who collaborate on writing and illustrating a story.
Marie-Louise has scribbled, sketched, scrawled, doodled, penciled, collaged and painted the words and pictures of a story-within-a-story that show how brilliant ideas creep up on you when you least expect it and how words sometimes float out of nowhere asking to be written.
Any Questions? presents a world inhabited by lost polar bears, soaring pterodactyls, talking trees and spotted snails, with cameo appearances by some of Marie-Louise's favorite characters -- a world where kids can become part of the story and let their imaginations run wild... and just maybe they will be inspired to create stories of their own.
At the end of the book, Marie-Louise provides answers to many of the questions children have asked her over the years, such as Are you Stella? How did you learn to draw? Can your cat fly? How many books do you make in one day?
Correlates to the Common Core State Standards in English Language Arts:
CCSS.ELA-LITERACY.RL.2.6
Acknowledge differences in the points of view of characters, including by speaking in a different voice for each character when reading dialogue aloud.
CCSS.ELA-LITERACY.RL.3.1
Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for the answers.
Adventurer, writer, and artist Allen Smutylo has experienced some of the wildest and most captivating waters imaginable in all corners of the globe. The stories in The Memory of Water--all of them accompanied by the author's own stunning artwork--describe his adventures in the Arctic, South Pacific, Great Lakes region, and India.
In the Arctic he is attacked by a polar bear, stalked by a rogue walrus, and nearly drowns in ferocious waters. But his Arctic stories also celebrate human creativity as they recount the life of the pre-Inuit people, who, hunting in a changing environment, endured many hardships and developed new technologies, such as the sea kayak, to cope.
Other stories include an account of a sojourn in a small Georgian Bay fishing village as a young artist, an adventure on an urban river in southwestern Ontario, and a portrayal of the complex underwater world of the South Pacific. Travelling the River Ganges in India, the author finds that a massive misuse of water is complicated by a billion people's faith-based adoration of the same water.
The Memory of Water probes a crucial and contemporary issue--that of our relationship to water and the wildlife and human life that depends upon it. This book will appeal to anyone interested in the natural world, in artistic depictions of it, or in a good story well told.
We, each of us in the civilized Western world, live in a space inviolate. Our home is our castle, as the saying goes: our shelter from the intrusion of the weather and other outside influences; our defence against physical and mental threats, real and imagined, to our private space; vault to our accumulated private property; theatre of our desires and aspirations; arena of our private victories and defeats, no matter how large or small; harbour of our secrets and fears; refuge to our children and family.
Yet the very protection and security our home provides us with also isolates us from our neighbours, our relatives, and the public affairs of our communities--constructs a garrison of anonymity around us and our loved ones in which we can become unknown, unloved--no one that anyone need be concerned nor care about. We see the recent rise of home invasions in our society as a violation of our most intimate places: the perpetration of heinous crimes upon the aged, the disabled, the helpless, victimizing our citizens precisely where rules of hospitality and generosity should govern our social relations. All this and more is the subject of Joan MacLeod's perceptively poignant play, Another Home Invasion, where another carries both its meanings: something commonplace; and something of an entirely different kind and nature. Of course this play involves the hapless, substance-abusing, middle-aged petty criminal we expect to find there, but is he the real threat to the home's occupants? He even shows up for a return visit. Who, then, are the real perpetrators of the heartless betrayal of the elderly couple who lives here: who is it that's robbing them of their possessions, their security, their relationship, their family--their home? The answers to these questions are as surprising as they are unsettling.
