…these books will fire up the imagination of younger readers during the summer break, write Emma Dunn and Sarah Mallony
The Scotsman 29 Jun 2019
“Explore the changing seasons and the beauty of the natural world in
Cherry Moon: Little Poems, Big Ideas, Mindful of Nature (Troika, £14).
The 100 poems in the collection, all written by Zaro Weil, vary from the most playful to the more reflective, but always display the infectious curiosity and wonder for nature found in young minds. The book is also visually stunning, with bright graphic illustrations from Junli Song, making sharing these poems a joy for all the senses.”
Zaro Weil, illus. Jo Riddell, pub. ZaZaKids Books
“Long ages ago in ancient earth time, creatures talked like us but in wacky weird rhyme” and so begins this collection of 101 poems, short rhyming plays, raps, haikus, stories and fairy tales. Illustrated with detailed and humorous black and white line drawings and pictures by Jo Riddell which both add to and expand the rich language of the text, children will delight in the cornucopia and richness of the language found within these pages. Ideal for dipping into, this book can be read together, on your own or out loud; the plays are an interesting addition.
The topics covered are wide-ranging, thoughtful and quirky so every reader is bound to find something to delight them. This is a great collection for sparking the imagination, generating questions, and enjoying the sound and intricacies of language and word play. The collection is a rich celebration of the natural world and this book would sit comfortably on the shelf alongside other poetry books on nature. There is also a QR code that can be scanned for access to an audio recording of many of the pieces.
Poetry is an under-represented area, and this would make a great addition to any collection.
Cherry Moon – Little Poems Big Ideas Mindful of Nature
Zaro Weil, illus. Junli Song, pub. ZaZaKids Books
The Flower Moon just went by and the Strawberry Moon is coming in June; in between all this I discovered a Cherry Moon as a keepsake!
This Summer we shall delve in the soothing and mindful world of nature poetry by the award-winning poetess Zaro Weil, brilliantly illustrated by Junli Song. The flora and fauna mingling with the human world in a cool night and an atmosphere of nightly festivities greets us on the hardcover of the book with earthy shades of blue, red and white. The theme is set from the beginning and readers are urged to be “where wild things are, and be a part of, well – everything.”
And it begins – the nature trip with Dogwood flowers, snoring dog, bees, blossoms, trees and beasts in the wilderness; under the moon! The River gives its message in a Haiku –
“You’d never guess,
but it’s taken forever
learning to roll
And the Little Pebble with a grateful heart, sings-
“I celebrate ancient earth
I salute ancient wind
I congratulate ancient waters
they made me who I am today.”
This big book of summer joys with over 95 poems is a treat for all ages, with messages of growth, acceptance, environment protection and being mindful about the same.
It beckons us to discover life as it unfolds around us in space and time, twinkling like fairy lights in the dark and fragrant like blossoms. The reader and listeners will rightfully believe, like the Dragonflies –
“As though summer
will never end.”
2 June 2019
Weave a circle round him thrice
October 5, 2018
The day I sat down to start writing this, a snail began a slow tour up the glass door in my kitchen. ‘What’s he doing here?’ I mused, taking my eye off the ball for a moment. Is this a sign? I turned around, the snail had vanished. The penny dropped. Little snail was a sign for the opening of this paper. I realized that I needed to pose a question: about why I was interested in such a strange little flat-footed spirally thing; something both odd and every-day, seen in a flash, vanishing in a blink. What in the world do snails have to do with poetry? What is poetry? What do children have to do with poetry? What role do imagination creativity, reading and listening play in this scenario?
Let’s go back to our snail, special moments, signs and the mystery of rituals. Imagine yourself as a five or eight-year-old. Your pet hamster dies, you find a dead bird, what do you do? You make a parade. Maybe you bury it. Whatever the action you have a deep-seated need to create something special. Perhaps you are older and spot a racing hare or an orange sky. You want to capture the excitement and fluttering pulse of that moment. It feels right to give shape to the feeling that sits inside us. Maybe to tell someone, share in some way. Maybe that inside feeling is a rock. Perhaps it’s a swallow.
Our job, as poets and educators, is to guide children to recognize that giving expression to teach our youth that what matters to us as humans is important. We need to validate ritual. Poets have been saying this for a long time.
Let’s think about the building blocks of a poem; words. I’ll return later to the other living parts of a poem – the images and rhythms. For now, let’s consider the words we all come to learn and experience in some detail each day. Let’s add to that imagination. Perhaps this might be a good time to let you know a bit about me…
I don’t know exactly how it happened or when I started to write poetry. I cannot recall an AHA! moment, or my first lines, but one thing I do know – I have always been encouraged to follow my instincts and they were not very different from those of any other child.
Like everyone else I loved to play, to make things up. Imagination was the obvious currency. Music, dance, and words of all varieties took a big hold on me. I don’t think this was unusual. Most of my friends followed the same path. We grew up in a dynamic world, America during the 60’s. Words, lyrics, rhymes and tunes were around us continually, stimulating us to the core. There was exciting just-sprung rock and roll, Broadway show tunes my parents listened to, endless jingles on television. All new. All thrilling. My friends and I sang along to everything, danced, made up plays and learned lyrics. These were powerful influences.
As an adult I came to understand that having fun with words, their rhythms, energy and imagery, led me down a path where putting them together was an adventure. I loved these words, it didn’t take long before I discovered poetry and its trusty sidekick, metaphor. At around nine or ten, I remember sitting on my parents’ front porch and reading The World’s Best loved poems over and over. I memorized a lot of pieces in that book without fully understanding what they were about. I think I did it just for the pleasure of saying them out loud. Memorizing them was fun; I could repeat these words over and over whenever I felt like it.
Looking back, it’s clear that the sheer joy of playing with language was as natural to me and indeed all children, as breathing. I heard the sounds. I pictured the words. Imagination was the currency. I think the primary way we see the world is poetic.
Then we strive, our whole lives, to make sense of that world. I believe that the principle path taken, the way we try to learn about everything around us. This route, making imaginative and creative order out of chaos, with play at its core, is an intrinsically artistic process.
But the artist, like the child, cannot help but respond, to make things up, create illusions, offer alternatives. A child gathers in the world through the senses. When these senses are fed and developed the child naturally exhibits far greater acuity, understanding, perception, and appreciation of the world they find themselves in. As such, problem solving becomes easier, in every field.
There are three ways, and probably many more, in which I think poetry and children walk side by side. That they are a match made in heaven.
Children, like poetry, think about and refer to the big picture: Why is the sky blue? Where does my dog go when it dies? Why do I look like I do? A child’s approach to life they is unashamedly philosophical, they question, everything. The impulse is an honest and necessary one. Poetry, in its simplest apparition, takes the form of questioning the existence of whatever reality we come across.
Typical children’s questions and answers
Q: What’s inside the sun?
Q: What’s inside the earth?
A: Colours before they get their names.
Q: Who made the first circle?
A: Someone who got very dizzy.
Q: What draws the bee to the honeysuckle?
A: Ten million summers.
Q: What roars inside a seashell?
A: Beach lions.
Q: What roars inside you?
A: My blood
Q: How does one tie a rainbow?
A: The first thing is to find the ends.
Q: If it’s noon here, what time is it on Mars?
A: A billion years before noon.
Q: How long does it take to move a mountain?
A: Depends on the number of ants available.
Q: At what speed does a moth move to a lamp?
A: At light speed.
Q: Why is the letter I dotted?
A: To have a good time.
Children, like poets, perceive the world with a closeness, excitement and clarity of vision adults often lack or have forgotten. They will not just point to a worm wiggling in the ground but reach down to get closer, to see it, maybe to pick it up. Maybe stopping for a long time to stare at a wonderfully shaped or bizarre stone. Soon that stone takes on new dimensions. For if we look at something long enough and hard enough it can begin to take on a new identity. Rocks become figures, clouds shape, sounds say something. This is daily ritual for a child, it is precisely these heightened perceptions that put us in touch with the universals, that offer us new ways to see the world, new eyes. We perceive things according to the stored experiences we already know.
How to Get an Idea
Dig into Mud
Open up a new box of crayons
Run your finger through a bag of marbles
Skip a stone across water
Ask a cat to lend you one
Stand quietly under a dictionary
Stick out your tongue and say, “Ah!”
Put an empty picture frame on the wall and wait
I believe our first view of the world, once we have language, is an imaginative and poetic one. What we don’t understand, we endow with human attributes; animals say all kinds of things, shadows need to be tamed, stars answer our wishes. Anthropomorphising the universe is part of growing up. To understand the world, we recreate it in our own recognizable human image. This personalization of the environment is the beginning of metaphor. The first sparks of poetry. How does the fog come? It comes on little cat feet. This is problem solving of the highest and most imaginative order.
last evening you
rolled so loud and silver
past my window
that the shadows
woke and wove their dark
over my bed
in the criss-cross of
I knew what to do
and fold into a
Children are perpetual motion. They run, bound, hop, skip. An internal rhythm of new life surges throughout their bodies, they don’t miss a beat, just like good poetry. Children are far more expressive than adults. Children playing and moving freely, develop a certain vibrant memory. Some call it a sense memory. A child can freely call on this store of memories listening to a story or poem for poetry relies on the senses; on words that not only have muscle, but which you can practically see or taste or feel or smell. These words are exciting, stirring. Again, creativity depends on sense memory, on the ability to recreate from a store of remembered experiences.
My first blush of poetry happened because as a child I believed that the sun rose the instant I opened my eyes in the morning. I remember lying in bed and opening one eye at a time, seeing if I could fool the sun. But the sun was always there, loyal to me. I realized I was queen of the sun. I called these pre-school fantasies personal myths and it is these myths, which I collected from friends and family, that formed the basis of my first book of poems, Mud, Moon and Me published by Orchard Books and Houghton Mifflin.
Reading, listening, reacting to the world make us human. What is it that makes us the kings and queens of our world? What gives us the vision to express or understand the heady sentiments and urges that rest deep within us? The misty moon-lit non-thoughts, those profound things that make us each different and special, the view of the world turned upside down with snow falling?
This is the role of poetry, allowing us to be who we are, giving us the opportunity to be many of the things that we cannot imagine ourselves to be. Listening to a poem, hearing the sway and swing of the words, feeling them grip us is part of – and I use this word carefully – a magical process. Poetic language is living, full of sudden leaps and shadows and endless nuance. These things never truly follow a straight path. Poetry is like that. Daytime logic is cast aside for night-time dreams, poetic language lives on rhythmic clouds and speaks oh so loud to a listening mind.
Barefoot on the beach
scanning the offerings of last nights tide
gulls-shadowless still-flock before us
their sharp cries crack
barefoot on the beach
we follow those match-stick prints
it’s a gumdrop canvas already
bathers towels parasols
we stroll along light as froth
stepping over seashore secrets
snug in wet sand
laughter threads round us
swirls like candy floss
a pale shell catches my eye
it is spiralled orange and white
wind polished to a gleam
a miniature house of some long lost creature
a baby sea horse in my story
the empty shell so delicate
one of millions of sundry small things
washed in by chance
the scent of salt captures me
I float featureless
empty as a puff
the fullness of things blue
a puzzle swells
splits open like a clam sunning
how strange it is to spot this shell
not any other
to draw it and it alone into my universe
and what other things are there to catch my eye
flutter down my spine
dragged in by some restless
tide of my own
and might things random
be not random at all
that what I choose to scan rests
in some shadowy pool
some lost landscape of buried secrets
wedged tight behind my reflection
only to wash up
in the great fullness or emptiness
of some moment or other
A poem poses another way of looking at things. When a child hears or reads a poem they know and feel from the tip of their nose to the tips of their toes, that there IS another world out there. A special, wild, free world. A world where we can catch a shadow or slay a dragon or talk to a daffodil. It is our job, as adults in this arena, to make sure our children are well looked after, allowed and encouraged to dream, to have an active and vibrant relationship to poetry.
For those of us who are lucky enough to be involved with children and poetry writing, I take my hat off to you. This is one of the finest human experiences we can offer our kids.
To end, I hope my little snail has made it someplace wonderful by now and is dreaming his snail dreams. As for us? This wonderful passage from Kubla Khan by Samuel Taylor Coleridge sums it up perfectly:
Weave a circle around him thrice
And close your eyes with holy dread
For he on honey-dew hath fed
and drunk the milk of Paradise
The milk of paradise is none other than the wondrous self we can discover, not in some far away Xanadu, but inside ourselves. Inside the heart of every child. That is the heart and soul of why poetry is important.
Zaro Weil and Junli Song
“Sometimes the shortest poems can impart the biggest ideas…
Always mindful of the endangered natural world around us, Cherry Moon is a wonder-filled new poetry collection for children of all ages from poet Zaro Weil who lives in France. Beautifully illustrated throughout with unique and stylish colour illustrations by Junli Song, this creatively packaged book perfectly brings to life the sheer joy of nature in all its many elements.
The collection includes poems with titles such as Wonderfulness, Flicker and flash, Listen Earth, How does the flower open, Dappling sun, and Wild as the Wind, and offers thought-provoking, sensitive and delightfully original little poems and gatherings of words – carefully grouped, separated and partnered – which encourage children to ask the big questions about life and to find their own answers.
At a time when the natural world is in crisis, and healing its wounds is high on every child’s agenda, there is a genuine need to bring nature back into the lives of children through the stories we tell. And Cherry Moon makes an enormous contribution to this, delivering special and accessible poetry for a new generation of readers.
Weil’s poems capture eye-popping moments, tender observations and a thousand whimsical reflections on the sheer joy of the natural world. Thought-provoking, sensitive and delightfully original, Cherry Moon poses big questions about life with poems and other small gatherings of words, encouraging children of every age to explore the power, enchantment and sheer wonder of nature.”
(ZaZaKids Books in association with Troika, hardback, £14)
Born rough on the streets of Brooklyn this is Spot’s story, told in his own voice and from his unique point of view.
56th International Children and Youth Book Fair Bologna in April 2019
Zaro Weil, the Cambridge School of Art and many, many, wonderful books. A walk through the 56th International Children’s and Youth Book Fair Bologna in early April. By GEORG PATZER and SUSANNE MARSCHALL
Everything was different this time. The> Trois Ourses <from Paris have ceased their work and were no longer at the joint booth> Small World <. For the first time, Rachael Kim was not at the Korean booth to show us new books and translate. Our bar in San Ruffilo closed at 10 in the evening and there was not much food there either. And for the first time, we’ve had a “book launch” of a wonderful book of children’s poems, which we – at least a little bit – helped to get started.
Otherwise, everything was as always: wonderful books from which we have many, many bought, interesting people, density, intensive discussions, long lines of illustrators in front of the stands, good food, a lot to drink … because Bologna is also “la grassa” And in addition, in the bars and restaurants, people happen to be meeting people at the fair. Or the other way around. So it started last year in the small restaurant Il Marinaio in the suburb of San Ruffilo, where we always live.
At the next table sat Zaro Weil and Gareth, we started talking, we talked, we got together at the fair – because of course they were there too. They were curious, open to everything, but the Cambridge School of Art, Anglia Ruskin University, did not know them yet. We sent them to this booth, where graduates of the illustrator classes always show their theses, not yet published books, “dummies.” Where each year you can discover exciting new stories: In recent years, for us Ellen Vesters with their dark, impressive book and Lele Saa with their mourning history and their mother’s red scarf. There, Zaro found Junli Song, won her as an illustrator and published her book. And celebrated this on Monday at the fair. And then with us in an osteria.
We have continued this year. Because Zaro did not know Katsumi Komagata either. And was thrilled with “Little Tree” – and as she cautiously turned the pages and the two discovered the poetic parable story, was touching to touch and reminded us of our first look in this noble-priced book: One of the librarians of the Trois Ourses retired white gloves, leafing devoutly and slowly and did not even let us touch the book. (I’m curious when Katsumi will receive the Astrid Lindgren Memorial Prize – so far the prize is a bit Euro-heavy.)
And we almost succeeded in making them and Mauro Bellei acquainted with exceptional books: a playful school of perception. But on Wednesday the two of them were heading for Venice again, where they “canoodleten through the winding streets,” as she wrote. After all, we were able to show him her book, he was immediately impressed by the harmony of the design. Dancing the words with the images and the other way round, the river for the eye and absolutely wanted to have one.Zaros Buch hat eine lange Geschichte: Vor vielen Jahren hat sie Gedichte geschrieben, dann hatte sie einen Verlag mit 30 Angestellten, und nachdem sie den aufgegeben hat und nach Südfrankreich gezogen ist, kamen auch die Gedichte wieder zu ihr zurück. Und wieder gründete sie einen Verlag, aber nur für sich selbst, für ihre Texte. ›Cherry Moon‹ heißt das Buch, und ihr Gedicht ›strawberry‹ erinnerte mich sofort an die Gedichte von William Carlos Williams:
if I were as red as you
I’d wind up in a basket too
Es sind Gedichte über kleine Dinge, über die Natur, den Frühling, den Sommer, den Wind, über Bohnen und Fledermäuse oder Steine, ›Don’t be bored rock‹ heißt eines:
don’t be bored rock
once you were orange fire
thundering down some
mountain slope or
hurtling silver sleek
through deep sky
maybe you were thrown up
sputtering red by
an ancient fuming volcano or
born with the planet in a
starless galactic bang
to be carved sharp by ice
rounded by raging wind
but whichever it was
being still now is good
you have so much to remember
Die Illustrationen von Sunli Song erzählen manchmal eine andere Geschichte, vertiefen Aspekte in eine Richtung, die von den Texten höchstens angedeutet wird. Es sind Drucke in zurückhaltenden Farben, blau und rot, und das auf den ersten Blick Plakative löst sich schnell in Bewegung auf, in eine hintersinnige Mehrfachbedeutung, wenn sich die Käfer auf den Blättern räkeln oder die Pflaumen vom Baum fallen im Sommergedicht ›Plum tree (summer)‹ (es gibt noch ›spring‹, ›autumn‹ und ›winter‹), das mit den Worten endet
never heard of it«
One of the recurring highlights of the fair is always the Cambridge booth. Everything there is of course professional, some rather mainstream. The stand is tiny. And always so well attended that you have to be hell-bent not to tear the many books out of the wall shelves. But if you are lucky, the small sofa in the corner is free, and if you sit first with a stack of books on your lap, you will not get up so quickly.Funny was the book by Adam Beer about a dog on an island that played so beautifully in peace and then got angry when suddenly excursionists came with other dogs, and the discussion about it with the other students (“Do not mention Brexit!” ): We thought it was wonderful that the illustrations were in black and white, much more powerful and clear, but his classmates had persuaded him during the course of their studies to try more with color … Impressive and subtle are Lindy Norton’s> The Visitor <and Bethan Welby’s Ghosted, a touching ghost story that deals with unfinished business and a mysterious death many years ago. Also smart is Al Rodin’s story> Lia & Lion <, Lia and the Lion: a quirky mischievous story with few, but pointed words and funky twists and turns, and the stroke is equally mischievously vivacious with soft quaint accents. Both want to have a pet and go in search: Lia looks up, the lion down, Lia looks to the left, the lion to the right. At some point they see each other at the same time and both think, “That’s the right pet.” Sitting in the meadow and watching each other: a little astonished, a little suspicious, but most of all curious. To the left, little Lia, who is perched on a round stone, bright red is her hat with the broad brim, and her little boots also flare in the same color, on the right Lion, a splendid specimen of a lion with a handsome mane. But that’s not how it works. How the two collide and what happens then
Incidentally, the discussion about Adam’s books took place in our Stammbar near Piazza Maggiore, where we once again sat for a long time and talked to a Viennese student couple on the right, then two older French women, and on the left were three Italian illustrators from southern Italy , which we met again the next day at the fair, then a larger group of Cambridge students. This is normal in Bologna, the fair is more familiar, not comparable to Frankfurt, and you meet again and again. Also Zaro we ran the first time on the first day in the middle of the arrival crowd in the arms. Incidentally, her book has already been selected on an English list as the best children’s book of the year.
Yes, the winners. They also have a lot to talk about, the Bologna Ragazzi Award is one of the most important in the international children’s book industry, and in addition to the amusement and the amazement and discovery, a visit to the award-winning is a must. As always, the Koreans are present, this year, among other things, with an honorable mention of the book “A Shadow” by Chae Seung-Yeon from the publisher Bandal: a book in which animals gradually gather in a long shadow, a lion, a giraffe, a raccoon, a monkey … Then the shadow becomes ever narrower, the animals have to move together, then pile up like the Bremen Town Musicians. And then comes the trick … (will not reveal). A successful work in the category> Opera prima <(first work), a playful homage to children’s fantasies,
In der Kategorie »Fiction« gehen zwei Erwähnungen an ›Et puis‹ von Icinori (ein französisch-japanisches Paar, Verlag Albin Michel Jeunesse, Paris) und ›À travers‹ von Tom Haugomat (Verlag Thierry Magnier). ›Et puis‹ erzählt eine völlig verdrehte, geheimnisvolle und nicht sofort entschlüsselbare Geschichte von Wesen mit einem Hammer- oder Schraubenkopf, die Monat für Monat die Wirklichkeitskulissen verschieben und die Natur domestizieren und verbauen, sodass z.B. in einem Monat eine schaumgeborene Göttin dem Meer entsteigt, während sie im nächsten vorn am Rand steht und nicht recht weiß, wohin sie mit ihrer Muschel soll. Jedes der vielen Details findet sich auf dem nächsten Blatt in veränderter Form wieder, jede der Dutzenden Figuren hat seine eigene Geschichte, und es würde Tage brauchen, sie alle zu entschlüsseln oder auch nur nachzuverfolgen. Haugomats Buch erzählt ohne Worte, nur durch die eindrücklichen Bilder die Geschichte eines Manns, der geboren wird, aufwächst, älter wird … auf der einen Seite ist ein Bild seiner Geschichte zu sehen, auf der gegenüberliegenden sieht man das, was er sieht: ein Buch, einen Nachbarn, die Sterne durch ein Fernglas, die Mondlandung im Fernsehen, die Raketen in Cape Canaveral, seinen alten Vater. Es ist eine anrührende Biografie, die auch in die Zukunft führt, ins Jahr 2021, in einer Drucktechnik mit nur drei Farben, sehr minimalistisch.
Bei ›New Horizons‹ ist der Gewinner ein wunderbares Kunstbuch: ›A History of Pictures (for Children)‹ von David Hockney und Martin Gayford, illustriert von Rose Blake, die uns das Buch signierte und ganz stolz eine E-Mail von Hockney zeigte, in der er ihr zu ihrer Arbeit gratulierte – schade, dass es keine Postkarte ist. Das Buch basiert auf Gesprächen zwischen dem berühmten Maler und dem Kunstkritiker. Es springt von einem Stier in der Höhle von Lascaux (15.000 vor u.Z.) zu Picassos Eule von 1952, von Jan van Eycks Arnolfinis zu Hockneys ›Mr. and Mrs. Clark and Percy‹, von der Mona Lisa zu einem Foto von Marlene Dietrich – eine anregende, bilderreiche, schlaue Art, durch die Kunstgeschichte zu führen, ohne kunstgeschichtlich schlau daherzukommen, ohne erhobenen Zeigefinger, sondern erzählend, neugierig und neugierigmachend.
Deutsche Verlage setzen mehr auf Altbewährtes wie Kuh Lieselotte vom Sauerländer Verlag: „Was bei uns funktioniert, funktioniert in anderen Ländern nicht unbedingt«, sagt Ilka Wesche vom Fischer Verlag, »aber Tiergeschichten gehen immer, wie Lieselotte.« In über 20 Sprachen ist die Kultkuh übersetzt, Spanien, Dänemark, Polen haben sogar das ganze Programm. »Und die Bücher von Gudrun Mebs«, erzählt Wesche, „sind ganz besonders in Korea beliebt«. Das neue – hurra endlich – ›Ferien nur mit Papa‹ liegt druckfrisch am Stand. »Allerdings«, sagt Anne Brans vom Hanser Verlag »verkaufen sich Kinderbücher, die literarischer sind, nicht so gut in Deutschland« – wie etwa die von Mebs oder Moeyaert – zwei herausragende und außergewöhnliche Autoren…
Bei Carlsen sind die Conni-Bücher seit über 25 Jahren ein Highlight und begeistern nicht nur in Deutschland. Ganz allgemein sind Freundschaftsgeschichten und magische Mädchenbücher sehr beliebt, wobei der Markt eher unvorhersehbar ist – so der Tenor der Verlage: Deshalb versuchen sie, mit einem vielfältigen Angebot die unterschiedlichen Ländergeschmäcker anzusprechen.
Oh, es gäbe so viel zu erzählen: von den anderen Preisen, von den deutschen Büchern und den deutschen Verlagen, dem Gastland Schweiz mit seiner Ausstellung von Büchern, illustrierten Schweizer Fachbegriffen (Berge, Ziegen, Heidi) und Illustratoren (Francesca Sanna oder Albertine, Petra Rappo haben wir dann gleich am Stand der Cambridger kennengelernt). Von den vielen wunderbaren Büchern, die wir noch entdeckt haben, auch die von Mauro Bellei. Von den Koreanern des Verlags BIR, die uns Jin-ho Jungs Buch ›The Stars and Me‹ extra aus Korea mitbrachten, damit wir es doch noch kaufen können (das hat letztes Jahr nicht geklappt), von Jean-Vincent Sénacs Buch ›How to draw a Chicken‹, das uns der Tate-Verlag geschenkt hat, weil wir so offensichtlich begeistert davon waren, von den vier Schweizerinnen im Bus, die Kinder an die Literatur heranführen, von einigen herausgeputzten Frauen und so mancher kleinen Skurrilität am Rand ………. viel, viel, viel könnten wir erzählen.
Nächstes Jahr wieder!
ZULETZT ERSCHIENEN IN JUGENDBUCH
” Exquisitely simple poetry about nature with warm, almost vintage print illustrations to accompany, about a plum tree in spring.”
30 BESTCHILDREN’S BOOKS FOR 2019 FROM
TODDLERS TO TEENS.
Nicola Christie April 5, 2019