PEW! American History Never Smelled So Bad!

 My family hosted many holiday and special occasion gatherings when I was growing up. Dad contributed actual kitchen-support to help prepare and host those events. Among his responsibilities were his German-heritage favorites: braunschweiger and limburger cheese. Their combined odors mark my memories of those times and even now cause my nose to wrinkle and sniff. Actually, it may have been that odiferous effect of his favorites that led Mom to hand off those tasks.

Cheeses, like other foods and beverages that involve fermentation, yeast components, or other pungent ingredients, are often evaluated by their “nose”, the strength and quality of some particular/expected odor. Limburger is meant to be a notoriously “stinky cheese”, but most cheeses reserve such an extreme description for circumstances in which they have gone “bad”. 

 

Sleeping Bear Press, 2023

PEW! The Stinky and Legen-Dairy Gift from Colonel Thomas S. Meacham is written by Cathy Stefanec Ogren and illustrated by Leslie Breen. It’s the lively, cleverly humorous account of an historic cheese and its impact on our country, its president, and the WHITE HOUSE itself. This picture book offers enticements and satisfaction for those with interest in American history, patriotic pride, superb nonfiction backmatter, agricultural/rural characters and settings, informative and entertaining text and illustrations, and well-balanced wordplay/punnery! 

 

Ogren has done a masterful job of taking on a now obscure but very successful farmer from upstate New York whose pride in his own farming community inspired a lallapalooza of a symbolic gift-- to the President of the United States! The practice of sending gifts to political leaders was not new in the early 1800s and continues to this day. This proud gentleman intended to distinguish his gift of a wheel of cheese from anything else that might gain the attention of the president and those who visited our national home. 

 

Several opening spreads invite readers into glorious farm scenes, then reveal his growing intentions and the ways in which cheeses are routinely made, along with the adaptations that were needed to achieve his goal—a MONUMENTAL cheese that could never be equaled! Extra attention was given to the process, adjustments, wrapping, and delivery to the president. They embarked on a lengthy journey through the waterways along the coast of the middle Atlantic states, a splendid tour with crowds lining the way to gasp and admire such an achievement. Despite my prediction that such a massive gift might be declined or distributed to those in need, it was January on the low-lying Potomac peninsula. The winter climate allowed the cheese to be prominently positioned in the cool entrance hall of the White House, and to remain in good quality for many months of nibbling and serving guests.

 

What happened next to the remaining mass of uneaten cheese was directly due to the warm and humid summer that followed. With no refrigeration or air conditioning, the very ingredients that produced a desirable result transformed that warm cheese into a stinky nuisance.  How they attempted to resolve this issue, and the consequences that ensued, are as impressive and entertaining as the rest of the story. 

The design of the book does not disappoint, providing a bright, large-sized format with many double-spreads to enhance the details of the story. Expansive white backgrounds form a showcase for illustrations and text layout revealing many specifics of those times and places in American history. Characters are not caricatures, and the expressions, clothing, and body postures tell little stories of their own. 

 

Nonfiction picture books usually offer further details or insights, resources, etc. in back matter. Some books provide content aimed at adults who might want to access or verify related content. The very best nonfiction backmatter is as intriguing, entertaining, and curiosity-sparking as the main text is for their intended audience. PEW! The Stinky and Legen-Dairy Gift from Colonel Thomas S. Meacham provides this kid-friendly approach with a page of “More To The Story” and another of “Cheesey Facts”. Don’t overlook these tasty offerings!

 

How this dramatic and unforgettable story (once you know it!) came to the attention of the author intrigues me. Ogren has agreed to respond to some questions about that and more, so continue to follow here to read her interview responses within the next few weeks. Meanwhile, put this new title on your want-to-read list, library hold, or in-person/online orders. (Available for pre-order HERE.)

 

As a Wisconsin cheesehead, I struggle to believe that some people do NOT enjoy cheese (lactose-intolerant folks and vegans are forgiven). The fact that cheeses have been around for thousands of years makes it clear that I’m not alone in appreciating cheese. But tastes vary. Non-cheese folks are entitled to their own responses and opinions about cheese. In this case, though, no cheese-eating or -sniffing are required when reading this remarkable and colorful picture book about agricultural pride, celebration of our nation, and a presidential gift that was immeasurably memorable! You won’t need to hold your nose while reading, but you may be shushed if reading in a library due to the clever word play and punchlines that might have you laughing out loud. They are woven throughout with deft skill and timing to balance intriguing information with humor. Not a stinker among the puns!

Others have been chiming in with reviews and interviews. I think you'll  enjoy their insights and reflections here:

This Little Birdie Blog, February 10, 2023

Writing and Illustrating, March 2, 2023

Release date:   March 15, 2023   Preorder HERE.

Cathy Ogren also contributes to a blog featuring reviews and interviews with authors of children's books.  Check it out here: WRITERS' RUMPUS.

DOT, DOT, POLKA DOT: Board Book with Layers of Colorful Fun!

Who doesn't love polka dots?  I can't be alone in finding that dotted fabrics, walls, boots, and BOOKS make me smile. Artists like Yayoi Kusama have made polka dots their signature motif, reviewed HERE. A recent board book offering is a delightfully appealing introduction to polka dots and other patterns for the youngest audiences, but is equally appealing to this NOT youngest reader!

POPW! Kids Books, 2023

DOT, DOT, POLKA DOT is a colorful, sturdy board book written and illustrated by graphic designer Morissa Rubin. She explores, page turn by turn, familiar and global/cultural patterns of nature and fabrics with lively text, bold images, and an edge accumulation of swatches that foreshadows a gratifying ending. The opening/title turn that features dots is followed by efficient and enticing text and image-rich examples of stripes, plaid, calico, argyle, kente cloth, kawung fruit, gingham, uroko triangles, paisleys, molas, and tie-dyes. 

This is a feast for the eyes and ears, sparking curiosity and providing vocabulary to recognize and label the many patterns that are human-made as well as identifying those in our lived environment. There are just enough hints within the minimal text to suggest ways that little (or bigger) hands might make patterns using stamps, bits, even collage techniques to make this a must-have addition for those teaching/leading art and craft groups of any age. 

Each pattern is represented by a small square fabric swatch, which caught my eye immediately, since I'm a lifelong fan of quilts. (This is evident in prior posts celebrating quilts  HERE, HERE, and HERE.))These swatches accumulate along one edge of each double spread, reminding me of ways in which quilters scatter, shift, and adjust their layouts, savoring the interactions of color and pattern with an eye to making the whole greater than the sum of the parts. "Separate pieces come together" is the next-to-last turn in which thread begins to attach one swatch to the next on a background featuring many of the patterns introduced. The final spread celebrates them all when the line-drawn character is tucked under a patchwork quilt, topped by a snuggling calico cat, with polka-dotted boots and hat safely stowed nearby. 

I particularly appreciated the global/cultural inclusion and celebration of patterns, as well as the richly robust vocabulary. This book is likely to find fans throughout the day and at bedtime, providing young ears with repetitive familiarity and context for words to describe their own worlds. While many board books are worthy sources for developing language and concepts related to color and shape, this is a rich source that embeds endless opportunities for such language. it's a treasure chest of entertainment and development for families, libraries, early childhood groups, and those seeking support for English language learning and/or speech/language development. It is even a great choice for dedicated (or beginning) quilters who could well display it as a table-top book of sorts or share with younger family members. Other ideas? Please share them in comments. It has been a while since I lost myself for hours in the fabric aisles, but this book just might lead me back there soon!

(Side note: Board books can be glorious yet constructed in such a way that they are soon damaged by the little hands that clutch them. POW Books seems aware of this and produced a durable physical book that should survive many readings and explorations, which this book invites.)

A copy of this book was provided by the publisher with no promise of a review.

Two Papa Titles: Celebrating Universal Relationships through Two Cultures

 

Catalyst Press, 2022
Junior Library Guild Gold Standard Selection

After recently featuring two picture books that honor the unique and priceless relationships between siblings, HERE and HERE, I'm excited to share two outstanding titles that honor fathers and their roles in young lives. ON MY PAPA'S SHOULDERS is written and illustrated by Niki Daly. The lovely dedication sets the tone for this colorful, contemporary story set in a bustling urban community. The text allows readers to learn about the young boy for several pages, focused on the loving folks in his life who walk him to school each day. Mama does so often, Gogo on other days, and Tata on cold and rainy days. 

Those routine companions provide patterns that are distinct and engaging: loving wishes, feeding cats, chats and discoveries, puddle splashing, whistles,  hugs, ands handholding, all very heartwarming.

The young narrator loves them one and all, so by the time we are halfway through the story and he reveals that the days he loves best are when Papa takes him to school you know that Papa has crested a very high bar. Papa lifts him onto his shoulders, walking him through the clouds. They part with sincere "I love you"s, revealing that Father's Day nears and the boy is constructing a worksite suited to his hard-hatted Papa. The wait for this favorite relationship to appear on the page is effective in reminding young readers and their Papa's (and Mothers and Gogos and Tatas) that the greatest gifts are routines and security, as well as those daily parting gestures and words to launch a school day with deeply genuine love.

Lee & Low Books,m2022

JUNA AND APPA is written by Jane Park and illustrated by Felicia Hoshino. In this offering, the lead character is a young girl and the story is told through her third person perspective. It also shifts from the day-to-day school relationships with family to SATURDAYS, when Juna becomes Appa's helper at the dry cleaning store. she feels welcome and valued, even when  she makes mistakes.

On Saturday a customer demanded the return of his very expensive jacket with the gold buttons, but it can't be found. Juna wants to help and search, but Appa's concern is stressful and he insists she just sit quietly- not an easy thing  for Juna to do. Time after time her boredom sparks imagination and she experiences being tended to by one of three animal kingdom fathers who are superb parents: The giant water bug who carries the eggs laid on his back to keep them safe from predators until they hatch. The greater rhea who builds a nest in the ground for the eggs and then sits on them until they hatch. Finally the Darwin's frog, also known as cowboy frog who swallows the tadpoles into a vocal sac and keeps them safe there until he burps them up as full grown frogs. Each dreamy encounter leads her back to Appa, who is increasingly stressed. When Juna offers to help pay for the jacket with her meager savings, Appa reassures her that he will find the jacket on Monday and they take time for their weekly trip to the taco truck. 

For any child who has ever sensed a parent's stress and longed to help solve the problem, this is a story of immense comfort layered with fascinating science and animal kingdom discoveries. 

I highly recommend both titles, and encourage you to celebrate your own family histories or present routines, discovering new ones as opportunities arise.

SIBLINGS Are Back: A Needed Subject For All Ages

I recently reviewed a remarkable and emotional picture book that reveals the tremendous power within sibling relationships, ME AND THE BOSS, HERE. If you missed that I urge you to take a look at my comments and then read the book.

Such deeply-rooted relationships among siblings are not always positive, but more often than not they are. They certainly have the potential to be the foundation and scaffolding of adult lives. The picture book I am celebrating today moves those sibling relationship topics into an area of complexity that is too seldom brought to the eye of the general public:

Incarceration of family members.

Did you know?

• The total number of people who have ever had an immediate family member incarcerated was an estimated 113 million, according to the study – about one in every two adults in the U.S. Around 6.5 million people “have an immediate family member currently incarcerated in jail or prison (1 in 38).”

Source: https://www.prisonpolicy.org/research/families/

Random House Studio, 2022

MY BROTHER IS AWAY is written by Sara Greenwood and illustrated by Luisa Uribe. This is Greenwood's debut picture book, released by a major mainstream publisher, so congratulations are merited on that accomplishment alone. The poignant but genuine narrative and point of view will readily lead readers of many ages to make connections to their own lives or those of friends and neighbors. The overwhelming reality that half of American families have had personal experience with some level of the prison system begs the question about why this topic is so rarely treated. 

Perhaps one insight into the lack of child-friendly books on this subject lies in the challenge of finding a suitable tone. MY BROTHER IS AWAY achieves a masterful touch in which this text and these illustrations are handled. The girl on the cover is the narrator, using first person, present tense voice and direct sentences to indicate that her brother is gone, but not forgotten. Several spreads allow readers to follow her into past tense to the things she used to do with her older brother, one who could lift her onto his shoulders and call her silly goose, teach her how to fly a kite. With that age gap, the illustrator assures that readers will also see  many signs of still-young boyishness in his bedroom. Greenwood deftly allows the girl to experience her shame, worry, loneliness, sadness, and anger while also wrapping up in the comfort of happier memories and her loving parents' efforts to keep the family connected. 

Never is the word "prison" used, but peer questions and accusations make it clear that the brother has not died, run away, or joined the military. He has been taken away and will not be back in their home any time soon. What he did is not specified but was in the paper, and his sister wonders why he would do such things. She is angry that his choices hurt her and her family so deeply. When they are finally able to go visit, will he still feel the same? Will she?

We join them on a lengthy journey and share awareness through prison visits that many families of many ages also have loved ones behind bars. She is not the only one suffering such a loss, and her life is closer to normal than she had imagined.

The mood and elaboration of story within illustrations are equally effective. Endpapers suggest an ambivalent sky, some clouds rosy and others deeply gray, some half of each. This suggests a powerful launch to the realistic emotional turmoil of the sister, and of families in such circumstances in general. I examined the front and back papers repeatedly, feeling certain that the colors, saturation, and tones had brightened on the ending papers. Then I realized that they are virtually identical, but the tone of encouragement and hope within the story had brightened my perception of those final endpapers as the  girl and her family adjust to their reality. Subtle elements in illustration merit close attention and repeated readings. As the family approaches "A building ringed with silver fences" our eyes meet an imposing dull-grey prison that matches the flat-tone of the ubiquitous fences around it, despite that "silver" perception of the child. I also appreciated that the family is depicted as a typical white family, while the girl's classmates and the other family/prisoner characters in scenes near the conclusion reflect the diversity of our population. For too many of us, the word "prison" or "prisoner" conjures images of Black or Brown individuals.

Interior spread: MY BROTHER IS AWAY

As is often the case, the Author Note at the end is worth reading. In this case, the author shares her own childhood photo and personal history as a girl whose brother "was away" until he returned home while she was in eighth grade. Her deeply-felt experiences resonate through this story and likely account for the nuance and sensitivity of the text. She provides a direct message to any children who have a family member in prison: You are not alone.

Please check out this important picture book and recommend it to families, teachers, librarians, scout leaders, librarians, and more.

SIBLINGS: ME AND THE BOSS!

 

Anne Schwartz Books, 2022

The subtitle for this very special picture book is: A STORY ABOUT MENDING AND LOVE. I have three other siblings and, at this stage of life, my sense of those relationships is one of gratitude, not worry or concern. Even so, thoughts of childhood flood with memories that we got along and loved each other, but there were plenty of days which might have deserved some mending. But there I go, reading that subtitle with my adult mind, assuming the meaning related to resolving a disagreement or some relationship trouble. Kids though, are literal critters, and they will understand immediately the very big and deep story behind the looks on the faces of these characters, on the cover and on the interior spreads.

ME AND THE BOSS: A Story About Mending and Love is written by Michelle Edwards and illustrated by April Harrison. The first seemingly simple lines target the heart of this story with the following words:

"I know big sisters. Zora, the Boss, is mine. 

I go wherever she goes and we are always home before dark. 

Those are the rules."

This is a likely-familiar scenario within many families, while each reader's take on it will be deeply refracted by their own relationships within a family cluster. Even the singleton child who always longed for siblings might ache for such an imagined older or younger "appendage", someone who might halve the worries and cautions of daily life.

Now read only that second sentence: "Zora, the Boss, is mine." 

Without the surrounding words, six-year-old Lee's first person voice states the foundation of his world, even within their loving, stable circle of caring and present parents. From waking to dusk, Lee belongs to Zora and is safe with her. His careful observations and gentle smile are not erased by her stern demeanor. She takes him into the world, insists he be allowed to participate, even with a needle and thread that could prick his fingers. She fibs about his age to assure he can take part. And he knows she does.

He does not shed tears. He does not give up. He watches, learns, and admires the Boss. He trusts her to be "mine". She will get them home before dark, heads down, and he will feel safer slipping his hand into hers, which she grips tightly.

This launches us into Lee's world and softens our view of his stern-faced sister. He is not a quitter. Lee is as stingy with words as his sister is. If Zora believes in him he can believe in himself. His overnight wakefulness provides time to practice, to calm his too-quick fingers on the needle, and accomplish his plans. He expands his sense of independence, achieves a goal for himself, then extends his newfound skill to offer a silent surprise to his sister. 

Much effort is currently being made in the publishing world to elevate and promulgate author and illustrator voices that share stories and images from previously underrepresented cultures and identities. Within that, the shift is on to share "Black Joy", as I've written about HERE, HERE, and HERE. It will take many such titles to provide celebrations of contemporary relationships, interests, and experiences that begin to balance the prior focus on stories of suffering and slavery and pain. Those historic stories are essential, but mirrors of daily life and lively engagements, like this one, need to be readily available and welcomed into the canon of children's literature. In this case the sibling roles within family, neighborhood, and community are not only contemporary but reminiscent of generations of families of every color. This, then, is a welcome version of the century of stories sharing such experiences in which the people on the page are white. conventional (exclusionary) policies claimed that "others" who read/view it will "see" themselves in it. Here, the same can be said for those who are not Black. These characters, this story, could belong to anyone. As illustrated by the powerful images of April Harrison, the family members are not mere darker-skinned generic people. They embody and project an undeniably rooted Black family and relationships, people I want to know. The dignity, strength, and synergy within this family are undeniable and enviable. They don't need for me to know them,  but they deserve to be known.

Examine those faces closely. Pay attention to every word, within the full story flow and also as single statements. Project their lives forward. Zora is not "forever" Boss, only to remain so as they age. Her demands of Lee and her defense of him are building within him a brother who will, one day in the future, separate himself from her Boss role and become the brother she loves and needs as there are now, side by side, equal sibling adults.

Another Remarkable Creative Team: The Steads!

My recent post featured a new picture book created by a talented pair whose collaboration produced an exciting and distinctive retelling of THE THREE BILLY GOATS GRUFF, HERE.  

"The Steads"  have together produced Caldecott-winner A SICK DAY FOR AMOS McGEE, along with many other titles that tap into gentle but moving relationships and characters. Click HERE to see some of their covers and anticipate an "AHA" recognition of favorites of your own.

NEAL PORTER BOOKS, 2022

THE SUN IS LATE AND SO IS THE FARMER is written by Philip Stead and illustrated by Erin E. Stead. This recent work offers some parallels to that earlier work with a feel that it may have found some roots in classic tales, too, but is entirely original. The animals are on a farm, not at the zoo, and the missing human, a central figure in both, is a farmer, not a zookeeper. 

In this case the animals note the absence of the sun, only then realizing that the farmer is also late, and their food has not been prepared for the day ahead. The three central figures are ideally partnered, a sort of animal Magi, watching the predawn sky for a sign of the new day. The mule, the milk cow, and the miniature horse are boon companions, kindred spirits. They share their worries, discuss possible next steps, sharing their progress through an effort to take action, to help in some way. Barn owl is consulted, since everyone knows how wise owls are. 

Owl's advice is seemingly simple, as is this entire story: subtle, reasonable, with some concerns but nothing terrifying. The pace, repetition, naturally expressive features and postures the farm animals all take readers on a steady, companionable adventure through the field of sheep, across the broken fence, into an acre of tall corn, past the farmhouse (with no lights on), to "the edge of the world". 

That's not to say there are no surprises, and the story allows time for readers to examine elements of each dimly-lit scene, each aptly chosen word, and experience each building emotion and final, satisfying resolution. The animals are not "named", just as is true for most farm animals. That in no way implies that they lack personality or character. Rather, they are each and together unforgettable. The same is true of this lovely picture book.

 I heard about this book when it released a few months ago, and I've looked forward to reading it closely. Now that I've had it in mom hands, I've returned to it, time after time. Each time I notice elements of the text and the images that add depth and sensitivity to a moving and gratifying story while providing those "things" we love in books for younger audiences: expanding vocabulary, awareness of social and emotional connections, gentle humor, all while treading the tender line between realism and fantasy. Read this and share it, soon.

THE THREE BILLY GOATS GRUFF: Give This Old Classic a NEW READ!

Those of us raised in a Euro-centered culture will immediately recognize that folk tale in the title of this post. The Three Billy Goats Gruff is among many traditional tales that were read/told to me in my early years (years that predated the joyous availability, in recent decades, of NEW and original picture books). Retelling, updating, shifting perspectives, and other approaches to turning those familiar tales into new versions have ranged from brilliant to odd/unpublishable. 

ORCHARD BOOKS (Scholastic)
December,  2022

I place this effort in the brilliant category.

In this case, THE THREE BILLY GOATS GRUFF, retold by the talented Mac Burnett and illustrated by the talented Jon Klassen, the pairing of their impressive talents produced a winningly fresh approach to a well-known tale. Burnett's retelling follows closely to the original, but engages from page one through to the chuckle-worthy ending. 

The humor threading through the text and illustrations accounts for that undeniable appeal. Troll is not depicted in the typical style of trolls, especially those found in a more Norwegian approach that may have come to mind when you first read the title of this post. It's not that Troll isn't comparably gross, doesn't also long to gobble up "meals" that dare to cross his bridge. In fact, though, this particular troll more closely resembles an oversized river rat. Troll clearly resides in the muddy, stagnant waters below the bridge, bobbing with bones and bugs and trash. Endpapers provide an even more elaborate image of Troll's "home", including skulls and ribs and a sense of how disgusting this character actually is. 

Burnett's text provides some suggestion of all this. Then Klassen's art (as limited in color and evocative in detail and rough edges as his work often is) generates a cautionary mood to readers. Do not mess with TROLL! This effect makes the bravery of each goat even more impressive without requiring added text in that aspect of the story. 

Where Burnett does expand text it serves to take readers into the personality and eating-obsession of that Troll fellow. The narrative overall is not rhymed, but Troll adopts rhyming chants that feature his imaginative approach to the "gobbling" he desires. 

Repetition of his rhymed-challenge to those who cross offers a hint of his language skill:

"Who seeks to reach the grassy ridge?/Who dares to walk across my bridge?"

Each encounter suggests chef-level imagination, singing on the page, suggesting enticing menu options. A short example follows:

"Goat smoked, goat poached, a goat pot roast.

Goat smorgasbord! Goat smeared on toast!

A goat kale salad-- hold the kale.

Goat escargot! (That's goat plus snails.)

On goat I'll dine, on goat I'll sup.

You little goat, I'll eat you up!"

This effective development of Troll as a complex character allows readers to view Troll as perhaps less evil and more intriguing. Readers will certainly be rooting for the goats, but the eventual fate of Troll as we come to know him elicits a slightly empathetic reaction, at least it did to me. 

Don't let the familiarity of your childhood memories of this tale cause you to overlook or dismiss this new offering. It is a lively, laughable, and wry look at a classic, providing the central story with a very creative take. It passes and exceeds the tests of readability out loud, re-reading appeal, and potential for new discoveries with each reading. 

Bon Apetit!