News from the Canadian Children's Book Centre & Friends  

Become a Monthly Donor
Since 1976 we have been bringing quality Canadian books to young readers through our wealth of programs and resources—from book giveaways to helpful book reviews and beyond. What we do is only possible with your help. Support the Canadian Children’s Book Centre by becoming a monthly donor today! Throughout March only, Make it Monthly by setting up a new monthly donation of $20 or more, and CanadaHelps will add on an extra $20. Become a monthly donor today!

CALL FOR SUBMISSIONS: CCBC Book Awards

We now accepting submissions for its English-language children’s book awards. In total, seven prizes will be awarded. The submission deadline is March 15, 2024. Learn more here.

Celebrate Spring with Beautiful Art

Spring is almost here and why not celebrate with a beautiful piece of art? Visit the Picture Book Gallery today to find one-of-a-kind art, perfect for gifts, library spaces, corporate use and more. 

In November 2021, we launched the Picture Book Gallery as a way to generate funds for Canadian Children’s Book Week, which connects Canadian creators with children and teens across Canada. The Picture Book Gallery supports our annual tour that allows 28,000 young Canadians to participate in over 400 readings and workshops in a single week. Illustrators set their own prices, with 60% of the value of their art sold donated to Book Week. This event is a great opportunity for illustrators to showcase their work to a wider audience, all while generously contributing to a love of reading in children across Canada.

UPCOMING WEBINAR | Accessibility Metadata for Children’s Publishers

Are you a publisher interested in learning more about the accessibility metadata that makes projects like the Accessible Books Bank possible? Join us on March 27 at 1 pm EDT for our free webinar where we will discuss what accessibility metadata is, where it goes, why it matters, and what it can do for you and your children's books. Register today!

Accessibility Column: Presenting the CCBC’s new Accessible Books Bank
By Spencer Miller

When we started the Accessible Books for Young Readers project in 2021, the most common request we received was for help discovering new accessible titles. We’ve spent the past two years building a new discoverability tool: the CCBC’s Accessible Books Bank.

The Accessible Books Bank is the only service in Canada that allows readers, educators, librarians, families, and the general public to find Canadian books for kids and teens in accessible formats in one place.

The Books Bank allows you to:

• Browse books that are available as ebooks, audiobooks, large print, braille, and other formats 
• Use search and filter options to find books by title, theme, grade level, format, and more
• Read book descriptions and reviews, watch supplementary video content, and find out more about the authors and illustrators
• Purchase books through links to retailers and wholesalers

Take some time to explore the brand new Accessible Books Bank and find a book in the format that works best for you. We are adding new books and detailed title information regularly, so check back often.

If you missed our Finding Accessible Books Webinar last month, you can watch it on Bibliovideo.

​​Spencer Miller is a teacher, writer, reader, and fan of the Toronto Raptors. He is currently pursuing graduate studies at the University of Calgary (Treaty 7). You can follow more of Spencer’s passion for books on Instagram @spencerbmiller.

March Book List: International Women's Day

In honour of International Women's Day, which takes place on March 8, our book list features bold women and girls in fiction and real life. Get young readers excited about reading with this curated list, great for families, librarians and teachers.

Grandmother School is inspired by schoolteacher Yogendra Bangar who created a school for grandmothers in the remote Indian village of Phangane. How did you come to hear of this unique education model? What prompted you to craft the story around a fictionalized character instead of the real-life creator of the school?

The idea to write a fictional story set in that village came from a personal memory. The two characters are based on me and my grandmother. Biji, my grandmother, was the most loving person and had never gone to school. She used to tell me stories and I regret not teaching her anything in return. I dedicated this book to her memory. 

Though eco-feminism may sound like a recent concept, it is reported that French feminist Francoise d’Eaubonne coined the term in 1974. 111 Trees: How One Village Celebrates the Birth of Every Girl offers a striking depiction of eco-feminism at work. In what ways can schools incorporate eco-feminism into their curricula in an organic and ongoing way throughout the year?

This book has the potential to spark meaningful discussions in classrooms. Questions such as, "Do you care about the environment?" and "Do you advocate for gender equality?" can prompt valuable reflections. Sundar's story embodies the saying, "Be the change you wish to see in the world," illustrating that one person can indeed make a difference, no matter how small the action.

To act, I suggest exploring organizations in your country dedicated to environmental conservation and gender equality. In Canada, consider supporting treecanada.ca, where just $5 can plant a tree. Engage your school in fundraising efforts. Additionally, learn about Plan International's Because I am a Girl campaign, which works to advance children's rights and equality for girls worldwide. I feel eco-feminism could be the answer to much of what ails our world!

The Lion Queen and 111 Trees are both picture-book biographies. What are the joys and challenges (if any) of writing books about real individuals? How do you ensure that you depict these subjects in an accurate and respectful way?

I shouldn’t say it is easier to write about someone who is no longer alive because it isn’t. But there are multiple sources like books, articlesor films on that person from where one can get information. But when the individuals are not so well known then it poses challenges.

When I decided to research 111 Trees, Sundar wasn’t well known.  His was a small story that seemed too good to be true and I needed to see it for myself to believe it. So, in 2016, I went to India but was unable to get Sundar’s contact information. I flew to Rajasthan anyways. (I don’t advise anyone should arrive unprepared like I did). When I arrived in Piplantri, the local school principal welcomed me and put me in touch with Sundar. I toured the village with Sundar and then he invited me to meet his family. It was a beautiful day. I interviewed him and I was not sure if it would ever become a book, but the story had begun to form in my heart. I took a lot of notes and Sundar gave me pamphlets in Hindi to read about the village. He generously offered to answer any questions on the phone should I need more information. I felt honoured to write his story. He calls me sister and we are still in touch.

On my next trip to India, I had planned to go to the Gir Forest to meet Rasila, the protagonist of The Lion Queen. But she was on maternity leave, so I had to cancel my plans. 

It was important for me to make Rasila, the main character feel real and relatable. I wanted to understand her feelings and what made her so brave. I talked to her on the phone! She shared details that I would have never found otherwise. I also watched movies and documentaries about Asiatic lions to learn more. I wanted to craft an exciting story that seamlessly blends women's power and wildlife preservation that kids would love and learn from.

There are challenges to write about real individuals, but it is truly rewarding to bring their stories to the world. Personally, connecting with my protagonists not only gives me the inside story but also incredible joy to put a spotlight on them. Tara Anand’s amazing illustrations made me love the story even more.

The Lion Queen introduces readers to Rasila Vadher, the first woman to work as a ranger in India’s Gir National Park which is home to Asiatic lions. Please elaborate on the following statement that you include in the book’s endnotes: “Both the lions and women are symbols of beauty and strength, and yet they are so fragile against the forces of man.”

Luckily, one of the local princes came to his senses and banned all hunting. It took a hundred years of conservation to bring these lions back from the brink of extinction. According to the 2020 census, Gir roars with more than 600 lions. It is one of the most remarkable conservation success stories in the world.

I was also saddened but inspired by Rasila’s story. In 2007, in a historic move, Gir Forest hired women for the very first time. Rasila was the first one. I watched a documentary where I saw her darting fierce lions with tranquilizers, wrestling with pythons, saving leopards, arresting poachers, and nursing abandoned cubs on quiet days. She also gave orders to men which had never happened before in a patriarchal society. It was sad that such a brave woman had to fight for her place in the world—for her education and for her dream of becoming a forester.

So yes, the lions and women are symbols of beauty and strength and yet they are so fragile against the forces of man. It’s not surprising that the paths of the lions and the lion queens crossed, and their stories became intertwined. After all, they had both learned to survive against all odds. And survive they did.

Girls’ education is a theme which runs through The Lion Queen, 111 Trees, and Grandmother School. What would you like to share about girls’ education as it pertains to the parts of India featured in each of these books?

The importance of girls' education in rural India, as portrayed in my three picture books—The Lion Queen, 111 Trees, and Grandmother School—is an important theme for me.

The Lion Queen is the story of a courageous girl from Gujarat, who defies societal expectations to go to school and ultimately becomes the first female forester in the Gir Forest of India. Through her determination and resilience, the book highlights the transformative power of education. It enables girls to break barriers and pursue their dreams.

Similarly, in 111 Trees, the protagonist Sundar addresses both environmental destruction and gender inequality in his village in Rajasthan by proposing a unique solution: planting 111 trees for every girl born. This story not only underscores the interconnectedness of environmental and social issues but also emphasizes the importance of girls' education.

Grandmother School offers a heartwarming portrayal of intergenerational learning and empowerment, as elderly women in a rural village of Maharashtra attend school for the first time in their lives. Through their newfound education, these grandmothers show confidence and pride. I hope they inspire younger generations to value and prioritize girls' education. 

Collectively, these books shed light on the injustices faced by girls in patriarchal societies and highlight the critical role of education in dismantling gender barriers and driving positive change in rural India. By amplifying their voices and experiences, I hope these stories will ignite conversations and actions towards creating a more just and inclusive world. 

As a teacher, I always felt that education is the ticket to the world. My hope is all girls in the world get this ticket along with the boys!

In 2013 Barbara was appointed to the Order of Canada for her contributions to children’s literature and in 2015, she became the Honorary Chair of Family Literacy Day. I Love You More by Emil Sher is her latest book. Barbara lives in Toronto but feels at home in any library, and loves connecting with young readers, artists, and writers everywhere through workshops, presentations and social media.

Take us through the steps you take to create your plasticine illustrations.

My plasticine illustrations begin with pencil sketches. A final drawing becomes the map for the clay art. Starting with a base of illustration board, the image is built up in layers. There are three basic techniques: spreading the clay to create a background layer; modelling shapes to build up the image; and adding texture to add detail and depth. I refer to my drawing to organize the order of the layers. Once the art is finished, I work with photographer (and husband!) Ian Crysler to light and photograph the art. We do a limited amount of Photoshop, mostly for cleanup. I feel that this art needs to look handmade and a little rough. Digital files are sent to the publisher.

Your relief-style plasticine artwork is distinct, striking, and recognizable. Plasticine differs from other types of modelling clay as it is oil based, squishable, and non-hardening. What would you say are the joys and challenges (if any) of creating illustrations with this medium?

Plasticine is fun for children, an easy-to-find art supply and one that is relatively affordable compared to other art supplies. How would you say readers are affected/influenced by your artwork crafted from plasticine, a medium which is familiar to them and commonplace in their everyday life?

When I looked a picture book art and comics as a child, I tried to figure out how they were done. I copied cartoons and artwork but often the images were so sophisticated and perfect looking that I couldn’t imagine ever being able to do that without access to serious art supplies. I like to think a young artist can look at my pictures and figure out how they were made and even try it themselves. I love to see artists exploring this accessible and fun medium for expression. I receive a lot of mail full of amazing clay art by kids. I believe it is as important for children to be able to read as it is for them to be able to communicate their own stories—in whatever form. My friend, author and collage illustrator Marthe Jocelyn, has said dimensional art “makes you look” and I think that is the appeal. You can look at a photograph of an alligator, a realistic painting of an alligator, and an alligator made from sunflower seeds painted green. The sunflower seed alligator is the one that makes you say “wow, this alligator is made out of sunflower seeds!” And maybe you will spend more time with that picture, that book. Maybe you will slow down and pay attention to the story that artist is telling. The important thing is that all illustrators are telling a visual story, whatever the medium. There are as many styles as there are readers. I’m not a fan of age or reading level categories. If young readers are given the opportunity to explore a variety of books, I believe they will connect with the ones that resonate with them. 

Prior to illustrating picture books, you created illustrations for textbooks. In what ways, if any, did your work illustrating textbooks influence/inform your work illustrating picture books?

Illustrating textbooks was a terrific education. I learned to work with inflexible page designs, experience the printing process and to meet deadlines. The artwork had to clearly reflect the text, be researched for accuracy, and diverse representation was required. The restrictions pushed me to think more creatively. That discipline was helpful when I had the freedom to play with page breaks, page design and images with picture books. Illustrating textbooks was school; creating picture books is recess!

The United States has at least three institutions (Eric Carle Picture Book Museum, Mazza Museum, R. Michelson Galleries) which are dedicated to collecting, preserving and presenting picture-book illustrations. Canada doesn’t seem to have an institution committed to carrying out this type of mandate. How would our nation benefit from having a museum dedicated to the realm of picture book artwork?

While there is no free-standing museum dedicated to Canadian book art, we are fortunate to have the Osborne Collection, housed in the Lillian Smith branch of the Toronto Public Library. The Osborne collects and preserves original book art including Canadian illustration, holds changing exhibits and access is free to the public. Tours and school visits can be arranged, and librarians are happy to pull materials from the collection for specific interests. Canadian artists Marie-Louise Gay, Brenda Clark, Sydney Smith and Michael Martchenko are just of few of the artists represented in this treasure-filled collection. 

Picture books are a child’s first art galleries. They can spark a lifelong appreciation of books, stories and art. Having the opportunity to view a variety of original book art and related material would be valuable to children of all ages, students of children’s literature, art students, and the public. A dedicated museum with physical space for exhibits, events, classes, talks and workshops, as well as research archives and a library, would be of great benefit to Canadians. 

View Barbara Reid's art in the Picture Book Gallery.

Rudābeh is an exuberant little girl with a gregarious personality and a big voice to match.  The adults in Rudy’s life constantly tell her she is too loud, but when she tries turning her volume down like it’s a water tap sealed tight, she feels diminished. Rudy’s Māmān Bozorg (her grandmother) visits from Iran to celebrate Norooz, the Iranian festival of spring, and encourages the child to be true to herself: “Rudābeh means river. Let it flow.” Shiva Delsooz’s energetic illustrations are full of colour, movement and emotion. So Loud! speaks volumes about the importance of embracing and using your own voice. This delightful debut picture book by Sahar Golshan is a joyful read-aLOUD storytime pick that needs to be heard. 

— Linda Ludke, Collections Management Librarian, London Public Library