DON'T TRUST FISH: Unreliable Narrators

    

I appreciate hearing from readers here, directly or in comments, but I am so enthralled with picture books that I'd post even if no one was reading. It genuinely matters to me when someone lets me know that the book(s) I feature here strike a chord with them. I take those regular readers as a sign of trust. Even though not every title might resonate with you, my remarks are seen as reliable and my honest opinion. That's the highest honor I could hope for. 

But not every narrator is reliable, and that can be by intention. 

In this case, I wrote about DON'T TRUST FISH when it first released, but am casting a wider spotlight on it now because... it deserves it! 

Dial Books For Young Readers, 2025

DON'T TRUST FISH is written by Neil Sharpson and illustrated by Caldecott medalist  Dan Santat. Sharpson is an award-winning novelist, but his debut dabble in the world of picture books ensures that this will not be his last. Santat's illustrations (and writing) in picture books have garnered fans and awards across many years. His recent middle grade, semi-autobiographic graphic novel won the National book Award for Youth in 2023. The cross-seasoning of backgrounds in works for mature and younger minds and hearts in this first time pairing produced an alchemy you should not miss.

Despite the undeniably powerful track records of its creators, this is proved to be a surprisingly entertaining picture book, one that states its intent on the cover and title. The crisp, retro-style art and sleepy-eyed cover fish contradicts that ominous statement in a way that invites some questions and confusions. Despite the imperative statement in the title, the opening spreads resemble a mid-century text book with simple images in muted and realistic colors facing a white-space text page with a few repetitive sentences that young readers can quickly echo. It appears that this is an instructive (even dull) science-y picture book about the classes and traits of vertebrate animals.

After spreads about mammals, birds, and others, the DON'T TRUST FISH line occurs, and is repeated. in ALL CAPS!

Ensuing spreads adopt a more high-stakes voice to indicate WHY fish are so untrustworthy, what they are "doing" that hints at sidestepping the nonfiction format. This suggests the narrator, though committed to the thesis, might be a tad suspect. Giggles will abound in the youngest. including the FINAL page turn, which really knocks your socks off.

Older readers will enjoy the humor, but can also use this remarkable book as mentor text for reading (and writing) text with unreliable narrators. This particular narrator requires readers to sort, analyze, and "consider the source", even before full evidence is revealed. There's quite a bit to be said for exploring unreliable narrators in text of all kinds, particularly as relates to ubiquitous digital technology.

The list of awards and honors for this book is already too long to list, but the best of all is that readers will love it, again and again. 

On a side note, I'll be presenting a short webinar hosted by WI SCBWI on the topic of UNRELIABLE NARRATORS on February 17, 2026, and it is open to all. Those who attend live will be invited to participate in some brief activities and shared ideas, and a book giveaway will take place at the conclusion. A recording of the session will be available to those who register for  a month. Readers here are invited and welcome to join! Click here the link:

JUST IN CASE: SAVING SEEDS in the Svalbard Global Seed Vault

CHARLESBRIDGE, 2025

 For more than year, my writing personal projects have included work on two nonfiction texts related to global hunger. It's quite a heavy subject, and finding ways to make it both intelligible and accessible to young readers presents plenty of challenges. Even so, kids are eager to better understand their "up-close" worlds as well as big picture topics. In the case of JUST IN CASE: Saving Seeds in the Svalbard Global Seed Vault I have no doubt that readers of any age will be intrigued and excited at the concept and execution of this global project.

Author Megan Clendenan and illustrator Brittany Cicchese have captured the heart and heftiness of a highly technical and surprisingly simple program that could assure the survival of the human race. This one has stakes!

I was aware of this project, and had even read some science reports about it. Even so, this took me right into the depths of the story, and not simply as a good idea well done. Both the text and sprawling spread of the opening pages deliver readers to the barren snowscape of the near-North Pole. Quickly, though, we learn that this location was not only chosen for its low temperatures to preserve the seed samples, but also to remove the facility from most climate and geologic threats. With images and text, readers travel the globe and across time to note the universal necessity of seeds, and practices for their care and preservation. Occasional sidebars and text inserts build background on the significance and nearly magical power of seeds to assure life on our planet. Pages depicting the decisions involving the design, blasting, building, and operation of the Seed Vault are really intriguing. 

It is made clear that the storehouse of seeds is not only for a potential or eventual apocalypse, but these seed reserves are available for active distribution during more localized destructive events. A full-circle effect is evoked as the closing spreads return readers to view of a child, a garden, and the role we can each play in preserving seeds and growing gardens. As impressive as the Svalbard Seed Vault is, this  account is worthy of attention as a literary success. It works across many ages and curricula links, taking a broad and distant concept onto the picture book page. Young readers are fully centered in the story. It's a terrific nonfiction offering (including back matter with further details and resources) while enticing eyes and minds to connect with their personal roles in nature and science. 

GO TELL IT; How JAMES BALDWIN Became a Writer

 I hope you read my post a few days ago, HERE. If so, did the underlying message come through? We are at a time in our nation's history when the effort to lie about truth and deny who we are and how we got to be here is openly admitted and promoted. This practice of denial and redirection has existed throughout our history, but now it is openly touted and enforced illegally. We who are not subject to suppression (that is, NOT people of color) must do more than feel empathy and offer sympathy. Being an ally is not enough. We must openly advocate, even when that endangers us. That is what "using our privilege" means. That did not save Pretti or Good and that means we who have felt "safe" must acknowledge that we have more in common with vulnerable folks than we previously admitted. That's why my approach here is to no longer just write "about books" and those who create them. My commentary going forward will not always relate to current events, but will do so more often and more directly.

Little, Brown, and Company, 2025

GO TELL IT: How james Baldwin Became a Writer is written by Quartez Harris with art by Gordon C. James. Named a Robert F. Sibert Informational Book Award Honor book by the American Library Association, this biographic approach to Baldwin merits special attention. 

Why Baldwin? He's a well-known figure today to say the least, but biographic accounts for young readers can be challenging. The ways to convey facts varies from relating cradle-to-grave, or polarizing life events, or poetic/thematic text to capture the spirit of the subject, or childhood-only events, or focusing on pivotal career events and accomplishments.

Author Harris has chosen a distinctive approach that, I imagine, Baldwin would have embraced. The focus is on Baldwin's lifelong love of words, his recognition of the magical power of words to convey not only information but emotion and imagination. Words "clung to him like glitter", Harris writes. That line is only one example of the care given to create text that Baldwin might have written about himself. The author begins with that line and at the point in life at which Baldwin's reading life began. The earliest pages reveal the many responsibilities he fulfilled within his large family with few resources. With a loving mother and a demanding stepfather. 

James immersed himself in reading but also sought and absorbed the language and color and LIFE of his Harlem neighborhood. A reference to his vulnerability as a boy of color among White authorities is portrayed in powerful words and images, with realism but not exaggeration or excess. Facts are facts. Baldwin reacted with anger, an anger that drove him to write.

His writing, his words, creativity, and imagination healed James, to a degree. It empowered him to speak out at his step-father's pulpit while still a boy. To spread a message of love and brotherhood, in contrast to the messages of condemnation and darkness that filled the church. His oratory, the reception of the congregation, and later his labor in many jobs provided the confidence and earnings to move forward. 

This biography reveals the critical years in Baldwin's life in which he found his voice through books, local life, pain, acceptance, and finding an outlet for his intelligence and heart. The telling of those years is precise and compelling. Illustrations by inoperable artist Gordon C. James pair with that text to reveal the depth and richness of life inn that time and place. Baldwin is often known for his big eyes and wide grin, for the intensity of his gaze and the mindfulness of his words. All of that is captured on the page in ways that make him no less an icon that adult readers will recognize, but as a developing boy and early adult whose identity and independence were nurtured and tempered by both love and pain. His humanity shines through from the start. The final spread features his debut novel, GO TELL IT ON THE MOUNTAIN and credits him with revealing Black urban life in untold ways. Back matter adds further content and the work as a whole is a prompt to read more of Baldwin's work. This is one of those picture books that its ideal for younger audiences but also serves teen readers before launching a study of his works. 

In the opening note I urge reader to find ways to openly support Black History Month (and beyond). One suggestion is to flood libraries with requests for BALDWIN  titles, to purchase his books, if you are able, and to read them. His voice and eloquence will naturally lead to recommending them to others and encouraging discussions of ways his issues have changed in history, as well as the current events now unfolding. Take the lead. 

SO MANY YEARS: A Juneteenth Story

No, it's not the brutal midwest snow that has me sharing a JUNETEENTH picture book on February first. And it's not (only) due to this being the first day of BLACK HISTORY MONTH, a recognition of our full history as colonies and, eventually, as a nation, as steeped in Black history as it is in any-and-all verifiable facts. (If you are new to this blog, you can read my thoughts on theme months in a very early post, HERE. In fact, with current efforts to suppress aspects of our country's history that do not comport with a white-only perspective, I am now advocating for robust monthly themes that are sustained throughout the calendar and academic year.)

CLARION BOOKS, 2025

SO MANY YEARS: A Juneteenth Story features words by Anne Wynter and illustrations by Jerome Pumphrey. It was this week's ALA awards ceremony that prompted me to bump this one forward on my schedule. No, it did not snag one of those shiny medals, although its many starred and rave reviews had led me to hope it would.  

In fact, I was rooting for the Caldecott category, which celebrates picture books that superbly execute the role of those various and sundry pages of pictures, i.e....

... that illustrations are not "matching:" the words but should be doing heavy lifting in storytelling, mood and tone-setting, in clarifying background and essential information, and in illuminating words that are necessarily minimal so that they shine and shimmer in our hearts.

it remains to be seen if Juneteenth, having finally achieved status as a national holiday, will continue as such under the current government trends. It should. It does, in fact, recognize that post-Civil-War government emancipation news was suppressed for two years or more in Texas. 

The text of this glorious book is, as mentioned above, minimal, although back matter and supplementary text are provided. The brief lyrical phrases adopt a Q&A approach, putting readers into the mindset of those who would receive such news, eventually, and recognize a need for, and right, to celebrate. And yet, 

"How would you dress

after so many years

of mending your clothes with rags"

At midpoint, the questions are simply answered with "Oh, how you would dress..." and eat and sing and otherwise embrace the reality you always knew to be true-- that you were human, not property, that right was right, and that all this was finally recognized as truth.

It's text like this that astounds me and puzzles me as a writer. Each word is precisely, exactly, upliftingly the exact choice, phrasing, and pacing to suit such a profound account. It opens minds to actual and difficult history for those whose heritage lies on either side of the injustices revealed. It carries readers of any background into the depth of joy and relief that freedom provided. The puzzle I experience has to do with how many (or few) art notes were included in the text-only submission. Just to say, there are countless collaborations among the editor, illustrator, and art director, occasionally including the author, during the process of developing and producing a picture book. But in this case the end result feels as if a single entity accomplished everything. The vibrantly sunny endpapers confirm immediately that this is a  joyful tale, and the framing of the history prior to/after the Juneteenth announcement is developed brilliantly. 

Let it be said the illustrator Jerome Pumphrey is half of the acclaimed PUMPHREY brothers creative team whose work has received awards in the past and will continue to do so (I confidently assert). Some have been reviewed HERE, and HERE. In the first half, facing pages illustrate the questions posed by presenting dramatically black-toned reflections of painful enslavement history while the images on the right are saturated, light-infused scenes of family celebrations and satisfying feasts. The stylized historic scenes reveal reality, harsh truths, while allowing the freedom-story contrasts and ensuing scenes provide faces, gfigures, features, fashions, and fun that humans (once free) can experience and convey. 

I adore this book and hope that you will seek it out and consider the images and text. Carefully. With care. Fully. It is a worthy and entertaining and uplifting book that shares history in a creative, lyrical way. No doubt I'll link back to it in future posts for the coming Juneteenth Day.  Please, though, consider it several times through and discuss it with young people. bring nut the reality that a government can attempt to do good but meet resistance. Just as governments can operate outside the law,mor impose illegitimate laws ands rules, but be met with resistance. Share it and discuss it with kids growing up in our media-saturated world, kids who are bombarded with horrific images and words, kids who wonder if our country is falling apart. That means all kids. It matters that they hear about ways in which our country has fractured and attacked itself in the past, that healing is possible, that the timing is rarely what we would wish, and that individual people play a role. 

And seize this BLACK HISTORY MONTH to put ALL stories of history into the hands and hearts of ALL young people, including those of any background. Everyone can feel empathy, none need to feel personally guilty, but ALL can feel responsible for building a better present and future.

Please.