October Recommendations

JOURNEY OF THE HUMPBACKS, written by Juliana Muñoz Toro, illustrated by Dipacho, and translated by Lawrence Schimmel, is a journey from “glacial waters near Antarctica to the warm coasts of the Pacific” in the company of these acrobatic, “giant-winged” whales. Pages are overflowing with fascinating facts, diagrams, questions, and playful-yet-informative art, all laid out with an energetic design that draws readers in. Occasional wordless, full-color, full-bleed spreads are stunning and add to the value. Fascinating, engaging nonfiction for older readers!

In TUCK ME IN! by Nathan W Pyle, a beach tells the moon that it’s chilly, so the moon “pushe[s] the water up onto the sand” to tuck it in. But then another, distant beach calls out because now this second beach has lost its blanket! So moon “pushe[s] the ocean back and forth,” listening to the two beaches complain. Finally, she stops to explain, in simple terms, the concept of tides. And sand castles! Inviting, cartoony art is perfect for this funny, lightly-scientific book for very young readers. Belongs in every toddlers collection right next to THE DAY MOON AND EARTH HAD AN ARGUMENT, written by David Duff and illustrated by Noemi Vola!

AXOLOTL AND AXOLITTLE, written by Jess Hitchman and illustrated by Sarah Rebar, is the story of two siblings, Axolotyl and Axolytle, told with an inventive rhyme scheme. While Axolotl “lives life to the max-a-lotl,” little brother Axolittle “likes to study facts a little.” He also “dances, sings, and acts a little. And loves to just relax a little.” These two siblings are very close, and together they “axo-lutely run the show,” until they have a falling out. After “a wibble. Then a wobble. Then a giant axo-squabble,” things eventually get resolved, but what a fun ride—reading this aloud is a must! Bold, cartoony, digital art glows with fuchsia and neon yellow that’s set against calmer greens. Super-di-dooper!

VAMPIRE JAM SANDWICH, written by Casey Lyall and illustrated by Nici Gregory, is a barely spooky story narrated by a cute kid with a flashlight under their chin. Readers will learn about a “legend… told in the darkest corners of kitchens far and wide” in which, long ago, a vampire (“possibly named Terrence”) encountered a very tasty strawberry jam sandwich, but when “someone in the house woke up,” the vampire (who was “surprised—not scared”) ran away. The bitten sandwich turned into a cursed creature of the night, always roaming, always searching “for MORE JAM!” The story is perfectly silly, and the graphite pencil and digital illustrations in a limited palette of blacks, reds, and yellow/beige effectively bring to life this strangest of vampires, along with an emotive feline companion slash co-conspirator. Really fun!/div>

In HOME IS A WISH, by Julia Kuo, a child leaves, sometimes with her Mama, sometimes with her Amah, but they “always come back home.” Until one day they leave behind “sounds, smells, feelings, words, and memories,” and home “becomes a wish,” as they travel far away. Everything is strange in this new place and the girl wonders how it can ever be home. She drifts, until “odd becomes ordinary, and strange becomes sweet.” Until these new people and places become a different home, a home for “now.” Poetic and tender, Kuo’s lyrical text soars, and her digital art evokes both yearning and stability.

BEA’S BALIKBAYAN BOX OF TREASURES, written by Christine Alemshah and illustrated by Dream Chen, a cardboard box is a bear cave, a playhouse, and a rocket ship, before it becomes “something even more special.” A balikbayan box is filled with presents for relatives, treasures that are outgrown, gathered, and shopped for. The box is stuffed “full to the tippy top” with all these treasures, then notes and cards are added because the box carries more than gifts; it also carries love. This charming book about a Filipino custom that serves as a “special expression of love to family and friends” has a satisfying ending that comes full circle. Colorful art and supportive back matter highlight both the imaginative and the sentimental elements in this well-written, well-illustrated book.

--Lynn

Shelf Awareness--Moonleapers

MG Review: Moonleapers

Moonleapers by Margaret Peterson Haddix (Quill Tree Books, 320p., ages 8-12, 9780063392564)

Moonleapers is compelling, high-stakes time-travel fare in which a 12-year-old's new phone reveals unexpected connections between her sick great-aunt, "moonleapers," government spies, and herself.

Maisie is delighted to be finally getting her own phone, a hand-me-down from Great-Aunt Hazel. Unfortunately, she's receiving the phone because Hazel is "really, really sick" and Maisie and the rest of her family will be moving to Maryland for the summer. Maisie's first-ever text on Hazel's old phone is an unknown number: "Hey diddle diddle/ Are you ready for your riddle?" The message is confusing, as is the blank, old-fashioned-looking book titled Guide for Moonleapers Maisie's mother hands her, saying, "it might make you feel closer to Great-­Aunt Hazel." Maisie decides to correspond with the anonymous texter and begins answering the riddles; when she does, writing appears on some of the previously empty pages of the guide. Then, Maisie accepts a call from the "MOONLEAPERS HOTLINE"--the girl on the other end is "from a different century." She tells Maisie that time itself can be "taken apart and reknit in a better way" and that the two of them, plus Hazel, must "change the world."

Margaret Peterson Haddix (Running Out of Time) masterfully grounds her suspenseful series opener in contemporary dynamics, such as Maisie feeling "weird" and not fitting in at school. The cryptic communications advance the narrative and raise the stakes until, by the end of Maisie's time in Maryland, readers can well believe she has thwarted Nazis, saved lives, and is now one of a privileged few who can both see and affect the past and future. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

Shelf Awareness--The Spy in the Museum

PB Review: The Spy in the Museum

The Spy in the Museum by Erin McGuire (Beach Lane Books, 40p., ages 6-9, 9781534466173)

Illustrator Erin McGuire (Rollin' on Down the Line) authors her first picture book, the fascinating and well-researched The Spy in the Museum, about Parisian Rose Valland's important work tracking artwork pillaged by Nazi's during World War II.

Rose Valland was the curator at the Jeu de Paume Museum in Paris, where she cared for "some of the world's greatest art." When the Nazis "arrived on Rose's doorstep," they "stormed the hallways... eyeing its treasures greedily." Quiet, shy Rose could have fled the danger but stayed at the museum as manager, fearful about what would happen to the artwork. "The Nazis... thought she was harmless," but Rose was brave and took notes as the Nazis discussed their secret plans in front of her. Rose kept track of where the art went, even after she was caught eavesdropping and threatened with death. When the Germans finally left Paris, their train cars stuffed full of the museum's masterpieces, Rose sent her information to the French Resistance; the French Army managed to save "148 crates of priceless paintings."

McGuire's engrossing narrative hews closely to its mission of describing Valland's "small, overlooked" act of heroism. The text is precise and concise and conveys the danger Rose was in, as well as her passion for her work. The digitally painted, graphite and mixed media illustrations are equally strong, portraying Rose's determination through facial expressions and posture and using shifts in perspective to create both menacing and thoughtful images. While the focus of this gripping book remains on Rose and her accomplishments, the "twisted and hateful" outlook of the Nazis is apparent in both text and back matter. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

Shelf Awareness--Broken

PB Review: Broken

Broken by X. Fang (Tundra Books , 48p., ages 3-7, 9781774882009, October 14, 2025)

In Broken, the exceedingly talented X. Fang (Dim Sum Palace; We Are Definitely Human) passionately describes a dramatic incident in which Mei Mei breaks Ama's cup. How the cup--and Mei Mei--are subsequently made whole again involves glue, understanding, and the perfect hug.

Mei Mei is bored while visiting Ama. So, "naturally," the child decides to scare Ama's cat, Mimi. Mei Mei jumps out with a loud "BOO!" and bumps into a table; Ama's patterned yellow mug flies "up, then down, down, down, until CRASH!" It breaks into three pieces. Mei Mei, who doesn't know what to do, runs "far away." Alone and worrying on Ama's doorstep, Mei Mei believes that Ama will get mad or yell, but fondly, "with a smile," Ama asks Mei Mei to come back inside for tea and cake.

The mug is gone from the living room floor, but Mei Mei's guilt remains. "Mimi, you naughty cat!" Ama says while cuddling the cat, "You broke my cup!" But Mei Mei and Mimi know the truth. Mei Mei tries to eat the cake, but Mimi stares directly into the child's eyes over Ama's shoulder. And then "Mimi stare[s] even harder." Finally, the guilt overwhelms Mei Mei, who runs to a dark closet and huddles there. Ama finds the overwhelmed kid and Mei Mei confesses. Even though Mei Mei cries so hard it seems "the entire closet [will] flood," Ama isn't angry. Ama, who is a "fixer," glues the cup back together "piece by piece": "every repair tells a story" and now the cup has one, too. Finally, there is cake.

Fang's child-centric picture book speaks directly to the heart. Strong text, strong feelings, and strong art all acknowledge that mistakes are made (endpapers show the cat is not exempt either!), but kindness and compassion rule the day. Direct, first-person narration in the voice of tempestuous Mei Mei holds nothing back, and the digitally colored, graphite pencil-on-paper illustrations include plenty of extreme closeups, child's-eye-views, and even one invitation to turn the book 90 degrees for dramatic effect. The art is composed mostly of saturated blues, oranges, and yellows, accompanied by plenty of white space, keeping the pages from getting too dark. Ama's cheerful warmth nicely balances Mei Mei's passion, and readers will surely feel all Mei Mei's feels, then cheer when the child finally gets cake. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.

September Recommendations

In LATE TODAY, written by Jungyoon Huh, illustrated by Myungae Lee, and translated by Aerin Park, a narrator explains that “we can’t be late today.” But a wet, bedraggled kitten is crossing the bridge. No one wants to see it hurt, but “no one ha[s] the courage to save her.” Until one person, “gripped by fear,” SCREEECH! pulls over, “hop[ing] to hear a kitten’s cry.” Thankfully, there’s a forlorn “mew, mew,” and the driver rushes over to save the quivering kitten. The narrator concludes that “today [is] a good day to be late.” It’s a strongly affecting story, inspired by a kitten the writer was not able to rescue, sparely worded, strategically using sounds—and silence—to move readers. The text pairs perfectly with dynamic colored pencil and oil pastel illustrations that feature a good number of extremely effective wordless spreads to ratchet up suspense and bring this moving story to life.

YOU ARE NOT ALONE, written by Ingrid Law and illustrated by Xin Li, gently, lovingly, reminds children that even when bedtime feels “like it’s about to be you and no one else until morning,” they are “not alone.” Not alone echoes the nightlight, the father or mother, and the “soft fluff of [their] best-loved, most-hugged” stuffed animal. Not alone, “hoots the ever-watchful owl” that’s “draped in moonbeams;” not alone, calls the train, “it’s horn echoing from faraway tracks.” Via Law’s sweet, poetic language and Li’s warm and welcoming watercolor, gouache, crayon, colored pencil, and dried pastel art, the “pages of this book” softly, explicitly, reassure the child that they “are never alone.”

ZEBRA AND YAK: THE BACKWARDS ALPHABET BOOK, by Paul Friedrich, is a distinctive, really funny alphabet book. It does go backwards, and as someone who proudly memorized the alphabet in reverse as a kid, this speaks to me! When the book gets started, Zebra is complaining about not getting a cue from xylophone (“I didn’t hear X is for Xylophone”), and insists that the story should start with “A is for Apple.” The narrator argues, too, in fact the whole book is a silly, bantering argument as we work our way back to apple…and a surprise twist! Chockfull of zany banter and hysterical cartoony ballpoint pen and digital illustrations, it’s terrific!

Gentle, uncluttered, and poignant, CLARA AND THE MAN WITH BOOKS IN HIS WINDOW, written by María Teresa Andruetto, illustrated by Martina Trach, and translated by Elisa Amado, tells the story of how Clara is sent by her mother with a load of laundry for “the man in the big house.” The man who leaves money under the mat and “never goes out.” When Clara appears interested, he gives her a book. And another, and another, and he invites her inside where they talk about courage, and when Clara forgets her book the man finds his own courage and takes it to her. The watercolor, pencil, monoprint, and digitally collaged illustrations are distinctive in this heartfelt Spanish import.

MY FRIEND MAY, by Julie Flett, is another cat story, this one about Margaux and May, and how they became friends. When May goes out she mostly sticks close to home, and she always comes home for dinner. Until one day, even when Margaux calls and calls and calls, May doesn’t return. Everyone gathers to look, but May is nowhere to be found. That evening, Margaux helps her auntie Nitôsis pack up to move to the city. They both worry about May, but the next night, when Nitôsis is putting things away in her new home, “meow!” she hears May! Once May is home, she “purr[s] a long purr,” nestles into Margaux’s chest, and understands that “the best place to get lost [is] in the long grass behind the house, with her friend.” This tenderhearted story unfolds at an easy pace, in a reassuring voice, with clever, loving illustrations in pastel and pencil that are digitally collaged. Back matter adds a personal note, as well as some thoughts and examples of the Cree language.

OH DEAR, LOOK WHAT I GOT, written by Michael Rosen and illustrated by Helen Oxenbury, is a delightfully silly, rhyming romp by the uber-talented creators of the classic We’re Going on a Bear Hunt. In this one, a boy goes to a shop to get a carrot, and “Oh dear they gave me… a parrot!” He asks for a hat, only to get a cat, and when he wants a coat, he gets… well, you know. There’s a lovely, cumulative element to the story, and the repeating refrain, “Oh dear, look what I got! Do I want that? No, I do NOT!” keeps readers rolling along—right up until Rosen perfectly subverts it at the end. Oxenbury’s watercolor and pencil illustrations are as divine as ever.

--Lynn

Guest Post: Lisa Rogers

I’m completely thrilled to share a guest post today by Lisa Rogers, author of, most recently Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, illustrated by Susan Reagan. She’s talking about that perennial dilemma for writers, Show vs. Tell, and offering up some tips on how perhaps to approach it constructively! Here’s Lisa:

Writers Who Tell Too Much

Have you ever been told that your stories are too “tell-y?” I have. Though I can spot a tell from paragraphs away, it can be hard to see it in my own writing.

I don’t always tell too much. I’ve been lucky when a story’s form curbs the telling temptation. For my debut, 16 Words: William Carlos Williams and “The Red Wheelbarrow,” I chose a parallel structure that showed Williams and Thaddeus Marshall going about their workdays. My initial text was so spare that first, my agent, then my editor, asked me to add more. For Joan Mitchell Paints a Symphony, the text came showing the act of painting, perfect for this artist didn’t like talking about her work–she wanted viewers to experience it without being told how.

However, during oodles of drafts of Beautiful Noise: The Music of John Cage, I told. And told. And told, until I threw out all that telling and let the reader directly experience Cage’s work. For Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, out from Calkins Creek/Astra Books for Young Readers, let’s just say that 1,250 words should have shown me that something was not right.

Example #1:

All the Facts

In the late 1950s, Woody was working at a farm when a woman named Sophie came to visit the owners. They weren’t home, and Woody and Sophie got to talking.

Soon Woody and Sophie fell in love. But something bothered Woody. He was almost 45 years old and just getting settled. He’d barely gone to school. Sophie was educated and had a good-paying job.

Rewrite: The Right Specifics

In Idaho, Woody worked in construction, stacked hay on a farm, and spent weekends fishing and writing.

Best of all, he met a woman named Sophie. who came to a ranch to visit a friend. When they met, it was the right time for both of them. They fell in love and decided to marry. But something bothered Woody. His writing might get in the way of his marriage.

Example #2:

Where’s the Passion?

The winter after Woody and Sophie married, it was too cold to work construction, and Woody became anxious. When Sophie asked what was wrong, he told her about his dream to be an author. Sophie believed in him.

Rewrite: Feel What Your Characters Feel

The winter after Woody and Sophie married, it was too cold to work construction, and Woody grew anxious. Sophie had a good-paying job, but what could he do until spring? When Sophie asked what was wrong, Woody decided to trust her with his deepest wish. Sophie didn’t hesitate. She believed in him.

These changes might seem small, but they make the difference between prose that is flat and dull and words that show emotion. Placing myself in a scene helps me to understand my subjects well enough to be able to show how they feel, what they see, how they act, and what's important to them. That helps my words connect with readers, so they can put themselves in the scene, too.

One way to spot the tell is to read your work out loud. Not just read it, but perform it, as if you’re reading it to a group of children and need them to hang on to every word. If it’s a struggle, it might be that you’re telling.

Use specific words to delineate action: “was working at a farm” is vague; “stacked hay at a farm” provides a visual. If you create pictures in the reader’s mind, your story will be one that resonates.

Lisa Rogers is the award-winning author of Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, called “a poignant tribute to the power of story" by Kirkus; Joan Mitchell Paints a Symphony, termed “simply marvelous” by Kirkus in a starred review; Beautiful Noise: The Music of John Cage, which received a Golden Kite Honor, the Julia Ward Howe Notable Book Award, and three starred reviews; the Crystal Kite finalist and Julia Ward Howe Award winner 16 Words, called “a fine introduction to a celebrated American poet” by The New York Times, which received two starred reviews; and the bestselling Elvis Presley: A Little Golden Book Biography. She also is the author of the Massachusetts Must-Read Hound Won’t Go, the author of the title poem of the anthology If I Could Choose a Best Day, ed. Irene Latham and Charles Waters, and more.

She was inspired to write for children during her career as an elementary school librarian. A former news reporter and editor, Lisa writes from the shores of a pond near Boston, Massachusetts, accompanied by howls from her hound dog. Find her at www.LisaRogersWrites.com.

Lynn's Review of Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows

Woody’s Words: Woodrow Wilson Rawls and Where the Red Fern Grows, written by Lisa Rogers and illustrated by Susan Reagan, is an exceptional biography, full of voice and personality. It tells the story of Woodrow Wilson Rawls, who wrote “someday in my life I will write a book, and it will be a dog story.” And he did! Despite having “no schooling,” he wrote the bestselling dog story Where the Red Fern Grows.

Woody’s journey was anything but easy. Though he loved listening to stories, Woody didn’t go to school and “didn’t care for reading” until he heard The Call of the Wild read aloud, a story that “reached right into Woody’s heart and stayed there.” Woody’s family was poor, and he was too when he left home. But he persevered. He wrote when he was hungry, cold, in jail, in bunkhouses, and on railcars. When he met his wife Sophie, he settled down and during one long, freezing winter, with her full help and support, he wrote the first draft of what would eventually become Where the Red Fern Grows. And, just like when he listened to The Call of the Wild as a child, Woody found that his own story, Where the Red Fern Grows, reached deep into the hearts of the children who read it.

This fabulous biography sticks to the storyline about Where the Red Fern Grows, while back matter adds context and further fleshes out Woody’s complex life. The voice is strong and engaging, and the illustrations, with their greens, browns, and beautiful rich reds, work perfectly with the text. Kudos to the team that brought Woody’s Words to life, and kudos to Lisa for another beautiful biography to add to her body of work!

Lisa thank you for being here!

To order a copy:
Bookshop.org
Barnes and Noble
Amazon

Shelf Awareness--The Blue Velvet Chair

PB Review: The Blue Velvet Chair

The Blue Velvet Chair by Rio Cortez, illus. by Aaron Marin (Denene Millner Books/S&S, 40p., ages 4-8, 9781665912594)

The Blue Velvet Chair combines eloquent language with cozy illustrations to deftly convey a child's view of the world outside their window, perceived from the comfort of a favorite chair.

When a Black child wakes in the morning, the first thing they do is "streeeeetch [their] arms up beside [their] ears and climb the blue velvet chair" located by a window in the living room. Today, it's winter in the city, and the child sees white snow, brown branches, and their own "tiny cloud" of breath on glass. Sometimes it's spring and "the roof across the street is wet with rain." Sometimes a "black cat licks its paws"; other times, people are dancing. When the glass is warm, "that's summer." In autumn, the trees in the garden "turn orange and yellow and make crunchy piles," but the "roof across the street is quiet." As day winds down, the child stretches their arms up beside their ears and imagines "all the little ways the world might change tomorrow."

Poet and picture book author Rio Cortez (Golden Ax; The ABCs of Women's History) writes a flowing text that is a pleasing tumble of child-friendly musings. Sensory descriptions emphasizing the variable nature of the outside world tenderly express the message that time is always changing, and so are we. In Aaron Marin's sophomore work of picture book illustration (Amoya Blackwood Is Brave) he uses fully saturated colors with few outlines to highlight the warmth of the home and the closeness of its family. The Blue Velvet Chair offers an excellent excuse to snuggle up with a loved one for storytime or some world-watching. --Lynn Becker, reviewer, blogger, and children's book author. Originally printed in Shelf Awareness.