Publisher blurb: A long time ago in China there was a boy named Ping who loved flowers. Anything he planted burst into bloom. The Emperor loved flowers too. When it was time to choose an heir, he gave a flower seed to each child in the kingdom. "Whoever can show me their best in a year's time," he proclaimed, "shall succeed me to the throne!" Ping plants his seed and tends it every day. But month after month passes, and nothing grows. When spring comes, Ping must go to the Emperor with nothing but an empty pot. Demi's exquisite art and beautifully simple text show how Ping's embarrassing failure is turned triumphant in this satisfying tale of honesty rewarded.
Ping has an empty pot but others bring pots filled with glorious bright flowers.
"I admire Ping's great courage to appear before me with the empty truth, and now I reward him with my entire kingdom and make him Emperor of all the land."
Who is Demi? Demi is is the author and illustrator of more than one hundred books for children. Her works have received numerous awards and accolades, among them ALA Notable Children’s Books, The New York Times Best Illustrated Books, Notable Books for a Global Society, American Bookseller Pick of the Lists, the Middle East Book Award, and the Christopher Award, which recognises individuals whose work makes a positive difference in the world. Demi has travelled extensively and studied art in Mexico, India and China. She lives with her husband in Washington.
Her Chinese husband, Tze-si “Jesse” Huang, told Demi the story of The Empty Pot and The Magic Pillow. He remembered these tales from his childhood in China where his grandmother used to tell him ancient stories. Her original name was Charlotte Dumaresq Hunt.
This is a painting by William Morris Hunt the great grandfather of Demi:
Here are just a few of the books by Demi. They are expensive here in Australia and some are out of print but I suggest you look for books by Demi in your local or school library. If you work in a Primary school library I recommend you add The Empty Pot and The Magic Pillow to your library and if you work in a High School library I am certain your art teachers will love the colours, book design, and use of circle frames. Demi's book are wonderful to share with students.
Here is a list of some titles by Demi:
Marie Curie
Florence Nightingale
St. Francis of Assisi
Tutankhamun
Genghis Khan
The Girl Who Drew a Phoenix
Marco Polo
The Magic Pillow
The Boy Who Painted Dragons
Mother Theresa
The Legend of St Nicholas
King Midas: The Golden Touch
The Dalai Lama: Foreword by his Holiness The Dalai Lama
A young boy (or in some versions an old man) drops his mitten in the snow. A series of animals discover the warm mitten and each one climbs inside. The mitten stretches and stretches to accommodate animals which are diverse in size and temperament. In the Jan Brett version the animals include a snowshoe rabbit, a mole, a hedgehog, an owl, a badger, a fox, a giant brown bear and a tiny meadow mouse. In the version by Alvin Tresselt the mitten is taken over by a tiny mouse, a green frog, an owl, a rabbit, a fox, a wolf, a wild boar, a bear and finally a tiny cricket. One review called this a "progression tale." In the version by Alvin Tresselt, pictured above, the mitten disintegrates after the arrival of the final creature whereas in Jan Brett's version the boy finds the mitten and we see his grandmother standing puzzled as she compares its size against the original.
Recently my friend from Kinderbookswitheverything talked about The Mitten and the way she had several versions in her school library but there was one she especially liked. I assumed this was the Jan Brett (1989) version but she said no so this made me curious to read this old tale and to seek out different copies. When I checked her blog post I read she liked the one illustrated by Yaroslava because: "the language is better here as it is detailed and descriptive and the story fun."
On her website Jan Brett describes her version:
"When Nicki drops his white mitten in the snow, he goes on without realising that it is missing. One by one, woodland animals find the mitten and crawl in; first a curious mole, then a rabbit, a badger and others, each one larger than the last. Finally, a big brown bear is followed in by a tiny brown mouse, and what happens next makes a wonderfully funny climax. As the story of the animals in the mitten unfolds, the reader can see Nicki in the borders of each page, walking through the woods unaware of what is going on. Once again Jan Brett has created a dramatic and beautiful picture book in her distinctive style. She brings the animals to life with warmth and humour, and her illustrations are full of visual delights and details faithful to the Ukrainian tradition, from which the story comes."
In this School Library Journal blog post Elizabeth Bird talks about The Mitten. I found a few other editions including one shaped like a mitten and a board book pack which included a mitten! Perhaps next Winter (it is Spring right now here in Australia) you might like to find a few different version of The Mitten to share with your class. You could compare the simple things such as the choices of animals, critique the illustrations or discuss the language used to tell this story. As my friend said the version by Alvin Tresselt is filled with rich language - the mitten has a feathery cuff; red wool lining; and is made from old leather. You could also compare opening sentences and endings. Jan Brett opens her version with the words "Once there was a boy named Nicki who wanted his new mittens made from wool as white as snow." Alvin Tresselt opens his version more directly with the words "It was the coldest day of the winter, and a little boy was trudging through the forest gathering firewood for his grandmother." And finally the version by Jim Alyesworth says "Once upon a time there was a happy little boy who loved to play."
A House for Wombats is probably my favourite tree house picture book and I would guess nearly every child in Australia has heard of the Tree House series by Andy Griffiths and Terry Denton which begins with the 13-Storey Treehouse.
Do you have a memory of your very own tree house? Perhaps you have one in your back yard now? These cute structures have always held a fascination for me even though I didn't actually have a tree house myself probably because we didn't have a suitable tree in our garden. I did have a terrific cubby house (under our house) and a wonderful "Indian" tent which afforded the kids in my neighbourhood tons of fun. If you want to read a terrific Australian book about a cubby house try to find Junk Castle by Robin Klein.
Here is a poem to get this topic off to a good start and then I have put a few covers of picture books and junior novels which feature tree houses recently collected by my friend from Kinderbookswitheverything.
A tree house, a tree house,
A secret you and me house,
A high up in the leafy branches
Cozy as can be house.
A street house, a neat house,
Be sure and wipe your feet house
Is not my kind of house at all—
Let’s go live in a tree house.
Tree House by Shel Silverstein from the poetry book Sing a Song of Popcorn.
Rose and her dog John Brown have a comfortable life together but this is disturbed by the arrival of a cat. Rose likes the cat. John Brown does not. Does this all seem very simple? It is not. As you read this book, and I have read it many many times, more and more layers are revealed about these complex relationships.
Every now and then I think it is surely time for me to talk about John Brown, Rose and the Midnight Cat here on this blog and then I decide no - it's just too hard. Why? I have such strong feelings about this book. I love it SO much. Anything I say here will surely not do this exquisite text, and equally poignant and skilful illustrations, justice.
If you are a student studying the art of picture books, John Brown, Rose and the Midnight Cat is one you will want to study carefully. It is picture book perfection. Here are some things to think about:
Illustrations:
Hunt for the tiny details - the clock, the paintings on the wall, the photo of Rose's husband, her slippers which later John Brown uses as a comfort when he is pondering the problem of how to get Rose up and out of bed.
Think about the fine details of cross hatching - all done by hand. Each one would have taken hours and hours of work.
Think about inside and outside views.
The eyes of the cat are important. Compare them over the pages of the book.
Notice all the patterns - wall paper, quilt, wire fence (chook pen), and wooden fences.
How does Ron show this is a cosy home? Notice the fire place, the tea pot, the indoor plants and flowers in vases and even the old crockery in glass cabinets.
Think about the way this book invites you to use all your senses - the ticking clock, the smell of old furniture, the chill of the night air, the heat from the fire and the warmth of holding John Brown close.
Book Design:
Look at the text placement at the bottom of each page presented as a long white strip
Compare the pages where some have one illustration in a white, slightly undefined frame and others are full spreads which bleed into the edges.
Take a close look at the frame shape used around the title and creator details on the cover.
Think about the way John Brown and Rose are moving forward - left to right.
Take a look at this blog post which explores various features of illustrations in famous picture books including John Brown.
Text:
How will you read lines such as "John Brown would not look."; "I don't see any cat"; "There's nobody there"; and "We don't need you, cat." Think about how emphasis can change meaning and tone.
Think about the pacing used by Jenny Wagner. You simply have to read the lines "John Brown shut his eyes" slowly and then pause.
Notice the page turns.
Jenny Wagner is not afraid to repeat words. This is a powerful tool - "No!' said John Brown, and he pulled the curtains shut. 'No, I won't let him in."
Consider the magical implications of the circle John Brown draws around the house and the way this is a midnight cat, a black cat. Warding off evil?
Rose puts out the milk and "every night, when Rose was not looking, John Brown tipped it out." How does this make you feel? What is going on here?
Word placement is so important - "he woke her gently"; "He watched as she dozed by the fire"; "His eyes were like lamps, and his fur shone against the ragged sky."
If you can find a copy of Drawn from the Heart: a memoir by Ron Brooks read chapter five (page 105). In this essay Ron explains his own difficulties with this wonderful book and all of the work he did over and over again to get it right.
"I came to see that the story had a lot to say about many things - about different kinds of love, about conflicting loyalties, about possessiveness. It was perhaps not so much about jealousy as about the wish to protect what one has, or to regain what has been lost."
"A great deal of the imagery in John Brown is drawn from my grandparents house ... an old Victoria weatherboard, with a verandah across the front and down one side ... There were flower beds all around the house, leading out through the fruit trees to the clothesline and the chook-yard... "
"I make suggestions in the illustrations, provide starting points, things to fiddle with and speculate about, but leave open possibilities so that each viewer can find their own connections, and use them in their own way."
John Brown was first published in 1977 and I rejoice to see it is still in print especially when you consider that so many very fine Australian children's picture books have disappeared. Take a look here to see a video of the whole book.
In 1996 Australia Post released a set of stamps to celebrate the Children's Book Council of Australia one of which featured an image from John Brown, Rose and the Midnight Cat which won Picture Book of the Year in 1978.
Bud not Buddy sat beside his precious mother and he watched her die. He now finds himself in an orphanage and as the story opens he is sent, yet again to a foster home. As in the past the foster parents are truly awful and the kid who already lives in the house, their son, is horrendous - cruel, mean and a liar.
After a nasty incident on the first day Bud runs away. He has a small suitcase containing a few possessions which were precious to his mother. He has no idea but the significance of most of suitcase contents but he is sure the concert flyers for a band featuring Herman C Calloway. Bud is certain Herman must be his absent father. The brochures are his only clue but Bud sets out to travel from Flint Michigan to Grand Falls. Along the way Bud encounters great kindness and he meets an amazing group of musicians never suspecting the truth of his heritage until the final scene.
I actually thought I had already read this book and in a crazy moment of regret I also thought I had accidentally ordered the wrong book. Luckily both these premises are wrong. I have read The Watson's go to Birmingham also by Christopher Paul Curtis and we did have Bud not Buddy in my former school library but reading this book last week I am sure I had not previously read it so my purchase had a great purpose - allowing me to enjoy this very famous US book which won the Newbery Award and also a Coretta Scott King Award along with a host of state awards. Listen to a delicious audio book sound track here.
Here are some other covers. You probably already know I am bit obsessed with covers:
Role, Value, Impact on Young Readers in Different Countries
I have just spent three very interesting days in Moscow! No just kidding I was not able to be there in person we are in COVID lockdown in my city and country but I did attend virtually putting my toe into the world of online conferences. I will give you a few reflections about this at the end of this post.
Here is the scene at the conference where they had 200 participants in person and others online from 52 countries. The conference was presented in five languages: English, Spanish, Chinese, Arabic and Russian.
IBBY Congresses have taken place in Greece, New Zealand, Mexico, Great Britain, China, Norway, USA, Sweden, South Africa, three times in Spain and Germany, twice in Italy, and in other IBBY member countries. Russia joined IBBY in 1968.
Here is Cedric Christian Ninaussi Elong from Cameroon. His session was so inspirational. His bio explains the content of his presentation: Founder of non-commercial organization “Muna Kalati”, promoting the accessibility and visibility of African Children Books, entrepreneur in education, digital learning consultant, educational content expert, tutor and facilitator, researcher of games, mobile learning and African children literature.
This was a dynamic way to get everyone thinking and moving.
Deborah Soria The Power of Silence
Deborah Soria The Silent Book collection and the library at Lampedusa. I wish I had a transcript of this moving presentation. I loved her inspirational idea of little loves turning into projects completed with passion and purpose. Little children, who are deeply suffering, need books. Silent books contain stories that allow the children to take their mind somewhere else - to dream, to imagine. Make sure you look at my link above to read about the camps, the Red suitcase project and the camps they run.
This was, for me, one of two extremely moving and inspirational presentations at the congress. The other was with Zohreh Ghaeni (Iran). Read more about her Read with me program.
When Zohreh shared this image there was a collective gasp from the in person and virtual audience. She asked us to think about the situation in Afghanistan and then read these words from the song "I am woman". Such a powerful way to begin her lecture.
I also hope the session by Bart Moeyaert is published. He shared some very wise words about teachers and reading and the need to fill teachers minds with children's books. Take a look at his ALMA acceptance speech which covers many of the themes he discussed at the Congress.
The concurrent sessions were grouped under the following categories with up to four presenter in each time slot so there were lots of session to choose from and obviously I could only attend a few. Here in Sydney the time zone difference meant I tuned in at 4pm and continued until 1am but there were further sessions through to 4am which I had to miss. There will be a chance for conference delegates to catch up so I am compiling a list of the sessions I would like to hear and also some I want to revisit.
1. Sociology, anthropology and psychology of children's reading
Age and reading. Practices, challenges, solutions
Gender and reading: traditions and novelties
Cognitive approaches to children's reading
Sociology of children's literature and children's reading
The development of creativity in children through reading. Role models in literature
Professional literature on children’s reading (educators, librarians, psychologists)
Representation of diversity in children’s literature
Criteria of “dangerous” and “safe” books
The role of children's literature in the education and development of children: analysis of work experience
Under this heading I attended:
Children and the elderly: literature as demonstrations of developing agency in sociocultural contexts Janelle Mathis, Denton, USA
This session made me think about an old, long out of print book from Australia - A Rabbit named Harris. I have talked previously about The Old Man. Key texts from this presentation:
2. The art of telling stories
Theatre for children and theatrical formats of work to involve children in reading
Storytelling and other interactive forms of work with children
Children’s literature in print and digital formats: preservation and representation of culture and history of different countries for children, parents and educators
Children’s books with augmented reality
Innovative programs on involving children into reading (designed by psychologists, educators, librarians, etc.)
Edutainment. New formats of the educational literature
Wimmelbuchs, toy books, pop-up books, movable books, and other formats
The term Wimmelbuch was a new one for me. Here are two texts from the Silent book collection which demonstrate this idea. It means a panorama, pages where you look closely to follow characters:
3. Modern World and Future World. Non-fiction Literature for Children
Non-fiction books for children of primary school age
Non-fiction and popular science books for teens
“Life learning books” (today and tomorrow)
Problem of veracity in modern non-fiction for children and youth
Old and new formats: how to get children’s attention to reading non-fiction
Popular scientific and educational online resources for children: media, YouTube channels etc.
Design and illustration in non-fiction for children and youth
Under this heading I attended:
Looking at the world through the outstanding international non-fiction books Terrell Young, Provo, USA; Evelyn B. Freeman, USA
Here is a web link to the USBBY list. This session specifically focused on non fiction and biography. If you work in a library you might explore these lists for titles to add to your collection. These books are some of the best in the world.
4. The visual world of children's books
The role of book illustration for initiating family reading. The role of illustration in books for children of different ages (toddlers, preschoolers, primary school children and young adults)
Children's literature in various formats: books, multimedia, Internet
The role of Internet sources. Web-platforms for the popularization of children's literature
Popularization of children's literature with the help of media personalities
Modern and classic illustration in the reading circle of a modern child
Interaction of authors and illustrators in the illustrated books
Comic books, graphic novels, author’s illustrated books (picture books), and other formats of visual books for children and youth
From books to cartoons and back
Under this heading I attended:
When the picture meets the picture: Intervisuality artistic path in the wordless book Artemis Papailia, Alexandroupoli, Greece
Intervisuality is like our term intertextuality except in this case the focus is on illustrations. Here are a few things to look for - images that move between pages; illustrators who include their own books in illustrations (our Bob Graham does this); books within books; Folktale and fairy tale references in the illustrations (Anthony Browne The Tunnel); Architectural installations such as famous bridges (the example was the ANZAC bridge in Mirror by our Jeannie Baker); Monuments and maps; Poster and advertising; images from famous paintings (Anthony Browne does this) and parodies of famous paintings; references to a specific artist such as Anno and Escher; and mixed artistic styles.
Wordless picture books and creative ways to approach “cultural diversity” in education Maria Chatzianastasi, Marina Rodosthenous-Balafa, Agni Stylianou-Georgiou; Frenaros, Cyprus
See my images above under the heading Wimmelbuch.
5. Ethnic culture and multilingualism. Children's literature in national languages
Presentation of publishing projects on children's literature in national languages and dialects
Children's literature in rare languages. The problem of the disappearance of literary languages and literatures
A book as a way of preservation of language and cultural traditions
Multilingualism and the challenge of migration. Children's literature as a tool for the social adaptation of an emigrant child
Rare fairy tale storylines in the languages of ethnical minorities
Under this heading I attended:
The question of nationality in Palestinian children literature Hanada Kharma, Ramallah, Palestine
Immigrant child character from the author’s point of view: re-producing of loneliness Melike Günyüz, Istanbul, Turkey
Building a catalogue of Indigenous texts for youths: reflections in the light of postcolonial theory Jessica Tolentino, Brazil
This presentation highlighted a resource that I think could be a very valuable tool when you are looking for indigenous texts. It is called the Willakuy project. The materials are available in Instagram and in other formats. I was excited to see Australian titles included in their catalogue such as Baby Business by Jasmine Seymour. In the opening pages of the catalogue the authors explain their rigorous selection criteria.
6. Projects to promote reading among children and adolescents (joint projects of museums, libraries, publishing houses, theaters, and other cultural institutions)
Organization of the specialized book festivals and fairs (national and international) for the representation of modern children's book publishing
Outstanding projects for children's books promotion
Literature contests and international campaigns for children and specialists on children’s book and reading
Exhibition interactive projects on children’s illustration and literature
Children’s book museums and theme parks
Information and methodological resources on children's literature for specialists (the problem of promoting children's literature)
Cross-projects for publishers
Volunteer practice - children's and youth reading support initiatives
Under this heading I attended:
Reading changes lives! The Australian Children’s Laureate Foundation and the International Children’s Laureate Movement Robyn Sheahan-Bright, Gladstone, Australia
Prizing balance: An exploration of book award initiatives run by international school librarian networks Katie Day, Singapore
In this presentation (I missed the very beginning) the speakers mentioned the Red Dot Awards and the GLLI Award.
The provision of home language books in a New Zealand refugee school programme: An IBBY-Yamada funded project Nicola Daly, Libby Limbrick, Frances Plumpton; Hamilton, New Zealand
This is an utterly inspirational program which gives new arrivals access to books in their own language. I am in awe of this wonderful work. Read more here. This program is practical and so important.
7. Literary translation of children's literature
Specifics of work with children’s book translation
The choice of children's literature for translation. What translated children’s literature is popular in different countries?
National or translated foreign literature – what do readers choose?
Translated and non-translated literatures. The literature of which countries is being unfairly overlooked?
Translation, adaptation and localization
Translation of picture books and toddler’s books
Portrait of a country in the mirror of children’s literature
Under this heading I attended
The main trends in contemporary translated English literature for children, popular among Russian readers (3-6, 7-10 years old) Violetta Minina, Saint Petersburg, Russia
It was funny and interesting to see popular authors whose books are found in Australian school libraries translated into Russian by authors such as Sue Bentley; Holly Webb; Harriet Muncaster; Daisy Meadows and series such as Mercy Watson, Mog (Judith Kerr) and the picture book Handa's Surprise. In this presentation I learnt a new word - Inspirational Literature. In some US bookshops this is a whole section. My interpretation was that this might apply to books about mindfulness or perhaps books about famous and not so famous people such as those found in the Little People Big Dreams series.
Similarities meet differences with courage Tuula Pere, Helsinki, Finland
Take a look at these books by Tuula:
In this book - Stella and her spiky friend - the US publisher was concerned children might confuse the pharmacist with a vet. And in another Stella book there were issues about school lunches which are provided free for all children in Finland. This was a fascinating session where the author Anna shared images from her books which were questioned by international publishers. It made me think about the page in Rose Meets Mr Wintergarten where the family enjoy the sunrise from the roof of their house. I remember Bob saying in some markets it was thought this might encourage children to actually climb onto a roof and thus put themselves in danger!
8. History of children's literature. Children's literary criticism
Theory of children's literature in discussions
Children's literature in the national and world history
The question of the children's literature research methods
Children's literature in the mirror of criticism
History of literary genres in the history of childhood
Textual criticism of children's literature
Criticism, PR and advertising
Under this heading I attended:
The Universal and the Unique: literary portrayals of child homelessness in Seven Countries Clara Mikita, Linda T. Parsons; Dublin, USA
I met Roger Mello at the USBBY conference in Austin, Texas. He graciously shared the text for Lemon Butterfly by Cao Wenxuan. You can see here his cover design for Bookbird the IBBY Journal and some art which he talked about in his Keynote. Roger and other HCA winners designed a series of beautiful scarves which IBBY are selling to raise funds for their vital projects around the world.
Bookbird is our IBBY Journal
Here is the cover of their new book which celebrates their 60th anniversary. The cover art is by Russian HCA award winner Igor Oleynikov. Valerie Coghlan shared this beautiful quote from Hans Christian Andersen with the audience.
The conference had a wealth of sessions. Here are some I hope to attend over the coming days:
Chores in Amish-themed children's literature Kana Oyabu, Kanazawa, Japan
Some experiences with shared reading: youth protection centres, prisons, schools, and libraries Marijn Brouckaert, Viana do Castelo, Portugal
Storytelling: by children - for children - about children Patricia Amichi, Sydney, Australia
The effect of image language teaching on improving primary school students' literacy - taking picture books as an example (Yawen Su, Beijing, China
The mythology of nomads in children's and youth literature Adam Kapanov, Almaty, Kazakhstan
Images of the Holocaust in Polish literature for children and youth (since 2007) Katarzyna Slany, Kraków, Poland
Immigration and literature: capturing real-life experiences of immigrants to develop empathy and critical thinking among young Children Thandeka Sibiya, Budapest, Hungary
Veracity in non-fiction books for children of primary school age Linda M. Pavonetti, Candace Fleming, Eric Rohmann; Lake Orion, USA
Implicit reiteration of reading visual texts: revisiting the picture book Wendy Stephens, Huntsville, USA
Role and impact of migration on children's Literature Swati Raje, Pune, India
And David Almond in conversation with other HCA past winners
Attending virtually or attending in person. Both have strengths and weaknesses.
In person it is great to network, see and handle the books on display (Silent Books and Disability titles), visit libraries and other venues in the host city, ask questions, meet the presenters, and of course enjoy the hospitality offered. I did ask to see the HCA dinner menu and it all sounded delicious (see below). I should also mention the poster sessions which are always a highlight of an IBBY Congress. In person it is terrific to talk directly with the people about their posters and programs.
Attending virtually I could move between the concurrent sessions without rush between rooms, my conference partner and I were able to chat between our two locked down houses using text messages, and I could use my computer to look up book titles and other programs as they were mentioned. I also enjoyed using the chat function as a way to briefly talk to other attendees.
Some issues - the technology was not always easy to use; shared screens were unfortunately very fuzzy because of the camera position in the break out rooms and many PowerPoint slides contained way too much information in small size text making them impossible to read. It would have been good to have a print friendly version of the program with the hall venues specified.
Overall this was a fabulous three days. I cannot begin to think of all the complexities involved in running a hybrid program like this. Huge congratulations go to the organising committee especially Angela Lebedeva.
I recommend you make a plan now to attend the 38th Congress in 2022:
Or you might consider these future IBBY Congresses in 2024 Trieste, Italy and 2026 Ottawa, Canada.
One more thing - throughout the whole congress I had this song in my head. In 1980 my parents were supposed to attend the Olympic games in Moscow but sadly illness forced them to cancel at the last minute. I know they were so excited at the prospect of visiting Moscow.
