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Teen Librarian Monthly December 2018

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Event Calendar

Looking for an event to create a display around in your Library? Why not check out the events calendar (below), it is a work in progress so if your favourite day (holy, hedoninstic or just hilarious) is missing pleas let me know so I can add it

The Third Degree with Julie Kagawa

When destiny calls, legends rise.

Every millennium the missing pieces of the Scroll of a Thousand Prayers are hunted, for they hold the power to call the great Kami Dragon from the sea and ask for any one wish.

As a temple burns to the ground Yumeko escapes with its greatest treasure – the first piece of the scroll. And when fate thrusts her into the path of a mysterious samurai she knows he seeks what she has. Kage is under order to kill those who stand in his way but will he be able to complete his mission? Will this be the dawn that sees the dragon wake?

I read Shadow of the Fox in two sittings a couple of weeks ago, so huge thanks to Nina for sending me a copy and giving me the chance to ask Julie Kagawa some questions as part of the blog tour! It is an engrossing read, I particularly liked just how the world was built with all the little details about food and clothes without getting bogged down in descriptions. The two main protagonists are great, I loved the humour in their interactions (even in very unfunny, potentially deadly circumstances) and as new characters were introduced they quickly came to life and fit into the story perfectly. It is a properly epic tale and I’m really looking forward to reading the next instalment of their adventures!

Hi Julie welcome to TeenLibrarian and thank you for giving up your time to undergo the
third degree!

Since publishing your first book, The Iron King, in 2010, not a year has gone by without a new
title and/or the beginnings of a new series. Are they ideas that you have been polishing for
years, or have you simply not slept for the last 10 years?!
I’m constantly getting new ideas. Writing a book takes awhile, and once the excitement and
newness wears off, shiny new story ideas are bound to creep in. But since I can’t stop one story
to go write another, I keep them in a “new ideas” folder on my computer. I’ll type a few short
lines, either on characters, setting or plot, and file it away so it will be safe. That way, not only
will I not forget, I have a whole folder of new stories to be written once I’m done with my
current project.

After tackling fairies (not the cute ones), vampires, and dragons, why did the idea of
shapeshifters appeal next?
I love anime, and I especially love the legend of the kitsune. I actually wrote Shadow of the Fox
before the Iron Fey, but didn’t get it published until this year. The original version was an adult
fantasy, so I rewrote it as YA and the story is very different now. But I always loved that first
idea about a kitsune, so I’m thrilled that Shadow of the Fox is out in the world now.

Shadow of the Fox is the beginning of a new series that brings Japanese mythology to life. Did
you consider bringing it into a contemporary Western setting or was it always going to be in an
ancient land?
It was always going to be set in an ancient, mythological Japan, because the history, culture,
settings and architecture is beautiful and fascinating. I didn’t only want to write about
Japanese mythology, I wanted to write a book set in a land of samurai and ninja. Which is hard
to do in a contemporary Western setting.

How much research went into the customs and clothing you describe so vividly in the book? Are these largely based on reality?
A lot of the research that went into Shadow of the Fox comes from years and years of watching
anime and old samurai movies by Japanese directors. Movies like The Seven Samurai, Yojimbo,
Thirteen Assassins and the like, are very helpful when it comes to clothing, buildings and
terrain. Years of watching anime has taught me a lot about Japanese folklore and legend, as
many mythological creatures like kitsune, oni and tanuki appear in anime a lot. But I’ve also
studied the history of Japan, especially around the Sengoku era, because that point in Japanese
history is where Shadow of the Fox is inspired.

Do you plan in advance how many books in a series? Have you decided what’s coming next?
I usually know how many books beforehand. I tend to like trilogies, so Shadow of the Fox will
have three books in the series. I just finished book two, Soul of the Sword, so now I’m onto
book three.

What are you currently reading and who would you recommend it to?
Right now I’m reading Strange the Dreamer by Laini Taylor, and I’d recommend it to anyone
who loves fantasy, particularly if you like beautiful writing and almost surreal worlds.

Any plans to visit your UK based fans?
Not at the moment, but the year is nearly over, and who knows what the next year will bring?

Thank you so much for giving up your time to answer these questions!
Thanks for having me!

An object lesson on social media use and misuse

This is a good example of the use and misuse of twitter that can be used in a lesson on social media for users of all ages.

Tomi Adeyemi has written a brilliant book called The Children of Blood and Bone

Nora Roberts’ new book is titled Of Blood and Bone

Tomi publicly accused Nora of plagiarism on Twitter due to the similarity of the titles:

This led to the usual mob pile on of fans calling Nora out on multiple platforms; who reached out to Tomi to try and smooth over the trouble that was erupting.

Tomi then tweeted an apology and explanation to calm her fans:

However, she left the original tweet up, which has kept the hate cycle rolling.

Requests from Nora’s side to have the tweet taken down have, so far, remained unanswered.

Nora then wrote this post on her blog: Mob Rule By Social Media

This post gives a brilliant insight to what people under attack online can experience. It can also be used to discuss plagiarism, how the publishing industry works and also (and very importantly) online bullying as well as the importance of having all your facts in order before attacking someone publicly.

Nora and Tomi are both amazing writers, one with 30+ years experience and the other a first-time author, this contretemps seems to have soured views in both fan camps which may lead to many people not experiencing the wonderful work both authors have produced.

Fan is short for fanatic and sometimes the fanaticism comes to the fore and events can occur that damage fandoms, publishing and book lovers are not immune to this, as this event shows.

We Sold Our Souls by Grady Hendrix


In the 1990s, heavy metal band Dürt Würk was poised for breakout success — but then lead singer Terry Hunt embarked on a solo career and rocketed to stardom as Koffin, leaving his fellow bandmates to rot in rural Pennsylvania.

Two decades later, former guitarist Kris Pulaski works as the night manager of a Best Western – she’s tired, broke, and unhappy. Everything changes when she discovers a shocking secret from her heavy metal past: Turns out that Terry’s meteoric rise to success may have come at the price of Kris’s very soul.

With We Sold our Souls Grady Hendrix has forced his way into a *very* short list of authors for whom I will drop whatever I am reading to read whenever a new book comes out!

We Sold Our Souls is the most metal book I have ever read! It is a completely mad road trip of a novel with chapter titles ripped from the albums of the greatest metal bands that bestride the earth, Kris Pulaski is an awesome, if slightly worn (but not broken) protagonist that I found impossible not to root for.

Metal Never Retreats.

With the world and all the power of a mighty media machine set against her, she sets off to confront her nemesis and reclaim what is rightfully hers. Losing friends, and finding compatriots set against her she refuses to give up; even at the possible cost of her sanity.

Metal Never Surrenders.

With only one doubtful ally at her side (who may be more damaged and paranoid than she is) and unable to rely on fellow travelers, she sets off towards Hellstock ’19 and her destiny!

Metal Never Dies!

With enemies on all sides, no allies behind her and facing almost certain destruction ahead, Kris gets the band together one last time for an explosive finale that left my eyes ringing for hours after I had finished!

Grady Hendrix’s writing is so powerful that at one point I had to put down We Sold Our Souls and just breathe, as he had set off an attack of claustrophobia. It was in the chapter titled Sleep’s Holy Mountain as it brought back a memory of a time when crawling through Boomslang Cave that I thought I had become stuck, it only lasted for a moment but the memory of having a mountain pressing down against me has forever lurked in my subconscious.

When I finally turned the final page, I knew two things were true: Black Iron Mountain is real and I really, really want to hear Dürt Würk’s Troglodyte (three things if you count “it is better to burn out than sell out”).

For those about to read We Sold Our Souls I salute you!

We Sold Our Souls by Grady Hendrix published by Quirk Books, is available now from most book shops and many many fine libraries!

We Sold Our Souls is funny, dark, scary and you should definitely read it! Trust me I am a Librarian!

‘Cultural Appropriation, Unconscious Bias and Colonial Aspects of Collections’ – YLG conference session

Anyone who has ever attended a professional conference knows that such events are a mix of the good (catching up with friends after one of you has moved on, being able to look round the room at other attendees and know that you share a passion for the same type of work, FREE STUFF), the bad (trying to sleep in an unfamiliar bed in a room next to the lifts, being reminded of the ever-increasing pressure of working in your field, endless queues for tea and coffee), and the ugly (a full buffet breakfast is inclusive but the packed schedule means you’ve no time to linger and enjoy the spread). Few aspects of the conference experience, however, are as dreaded as those two little words:

BREAKOUT SESSION.

The horror of potential interaction with our fellow attendees – being forced to participate in ice-breaker activities, being asked to share anecdotes, being close enough to the facilitator to make eye contact – nothing can make one break out into a cold sweat faster. Or maybe that’s just me?

It was, therefore, a relief to find that the first breakout session I attended at this year’s YLG Conference (Reading the Future, at the Mercure Manchester Piccadilly, 21-23 September 2018) required none of these things. Titled ‘Cultural Appropriation, Unconscious Bias and Colonial Aspects of Collections’, this session took the format of a panel discussion followed by a Q&A, introducing me to creators whose excellent work I had not previously encountered. Ably guided by academic Chloe Germaine Buckley, Senior Lecturer in English and Film at Manchester Metropolitan University, authors Candy Gourlay and Miriam Halahmy each introduced us to their most recent novels before engaging in a discussion of why and how, even nearly two decades into the 21st century, publishing and libraries still struggle to present readers with a choice of books that accurately reflect the enormous diversity and reality of the world in which we all live.

Buckley began the session by quoting some hard numbers, drawing from data collected and reported by the Centre for Literacy in Primary Education (CLPE): of the 9,115 children’s books published in the United Kingdom during 2017, a mere 391 – just four percent! – of these featured Black, Asian, and minority ethnic (BAME) characters. Even more shocking, over half of this paltry total were what is often referred to as ‘social issues’ books – giving the strong impression that BAME characters and lives aren’t thought of by many authors – and therefore, many readers – as ‘normal’, ‘mainstream’ or otherwise ‘unremarkable’, but rather disrupted by racism, violence, or other incidences of social disorder. After allowing a moment for the audience to fully absorb this information, Buckley introduced Miriam Halahmy, author of numerous books, poems and short stories for children, teens and adults.

Those who follow the Youth Libraries Group blog on the CILIP website may recall Halahmy’s recent opinion piece ‘What is on our Bookshelves’, in which she discussed her experience as Head of Special needs in a Camden secondary school during the period in the early 1980s when The Rampton Report ‘on the education of children from ethnic minorities’ was published. The recommendations of this report had far-reaching effects on, in particular, school libraries across the United Kingdom; librarians and teachers, horrified by the exaggerated and stereotyped depictions of children from non-Anglo backgrounds, discarded enormous numbers of books in their attempts to embrace a multicultural society, but often did not have the funds to adequately replace these castoffs with new books reflecting positive depictions of other cultures and peoples. Halahmy says that the question is often asked, is the lack of BAME representation today because ‘[her] generation of teachers threw them all away?’

Of course, the real answer is much more complicated; overcoming the current deficiency of representation will require the cooperation of authors, literary agents, publishers, media reviewers, readers and librarians. Halahmy is certainly doing her part: as a Jewish woman with four Polish grandparents, married to an Iraqi Jew, different languages and cultures (including Polish, Yiddish, Hebrew, Russian, and Arabic) have always been a part of her life – in her words, she ‘cannot help but write multicultural characters because this is the world I inhabit.’ Halahmy’s beliefs complement my own primary philosophy as a librarian – that all children deserve to be able to see themselves reflected in the pages of a book. Her newest book, Behind Closed Doors, is about two teenage girls on the verge of homelessness for very different reasons, and features a cast of characters from a range of backgrounds, including Black British schoolboy Dom and Japanese-American swimmer Jordan.

Next to speak was Filipino author Candy Gourlay, whose 2018 novel, Bone Talk, originated when the author was conducting research into Filipino immigration for a non-fiction book on the subject, and came across a photograph from the 1904 World’s Fair in St. Louis, Missouri. This photo, depicting a woman dressed in the customary Edwardian fashion of the time, standing alongside a man naked but for a G-string, piqued her interest, for alongside the spectacular displays of scientific and technological progress – including the first electrical socket, incubator, x-ray machine and Ferris wheel – the sights advertised by the Fair’s organisers also included ‘exotic peoples’. Gourlay went on to explain how the subjects of these grotesque living exhibits included a number of displaced people; in this case, the man in the G-string was a Native Filipino, a member of a group of highland people known at the time as the Igorot – but better known to Americans as head-hunters. [Note: in my research for this piece, I learned that the exonym ‘Igorot’ is considered somewhat of a pejorative by the people whom it describes, and that the tribal people of the Cordillera region prefer a number of other terms; hereafter, I shall use the term ‘Cordillerans’.] A number of Cordillerans were brought to St Louis following the Philippine-American War (1899-1902), in anticipation of the World’s Fair; once there, the Native Filipinos duly reconstructed a mock village as part of the wildly popular ‘Philippine Exhibition’, in which they lived in plain view of gawking fairgoers, staging daily shows for the entertainment of their Western audiences.

Gourlay’s research into these people and how they came to be part of the 1904 World’s Fair took her from archives in St Louis all the way to the mountain provinces of the Philippines, where she made two important determinations. Firstly, the story of the Cordillerans was one she wanted to tell; secondly, although she herself is Filipino, this was not her story – and writing it as such would be cultural appropriation. Gourlay went on to clarify this point, saying that to an extent, ‘all fiction is cultural appropriation’; however, the problem with writing a story from the perspective of the Cordilleran people at the turn of the twentieth century is that no authentic record of their voices survives – only American versions. For this reason, although Bone Talk takes place amongst the Cordilleran community – specifically, the people of the Bontoc – it does so during the period of the Philippine-American War, thus enabling Gourlay to draw from those American chronicles of life amongst the Bontoc people at that time and thereafter as she constructed her work of fiction.

Gourlay’s mention of cultural appropriation reminded her audience of our reasons for attending this session in particular, and the subsequent discussion between the authors was fascinating, so much so that I must admit I rather abandoned my note-taking. Particular highlights, though, include:

  • Gourlay’s explanation of what she calls ‘The Lack’ – specifically, the something-that-is-missing at the beginning of every story, which is filled in over the course of the narrative – and how it is our job as librarians and authors to help promote authentic voices to fill that missing element;
  • Halahmy’s reminder that authors have to ‘murder [their] darlings’ – characters should have more purpose than just ‘representation’, and if not furthering the plot, they are just weighing it down; and
  • Gourlay’s discussion of how her writing critique group is made up of cisgender white people authors, and how she had to ‘knock back’ certain aspects of Bone Talk as a result.

Halahmy pointed out that ‘we are very much on the cusp of change’ in terms of elevating lesser-known voices within libraries and publishing, though there still exist ‘a lot of barriers to be broken down’. Gourlay concurred, going on to say that what will really help increase diversity is ‘not having diversity panels’ but instead making the effort to ‘move in the realms of the people you want to invite in’ to the conversation; Halahmy nodded in agreement, musing, ‘the number of book launches I go to where I’m the darkest person in the room…’ before declaring that ‘this is not a box-ticking exercise’, a statement that was met with applause, and brought the panel to a close.

I could not agree more with these sentiments. After nearly two decades of librarianship, I have learned that establishing diverse representation in my collections and avoiding (as much as possible) unconscious bias in my reading is only possible through hard work, constant education, and an open mind. As a white man – and an American one, at that! – stories about people like me have been front and centre for far too long; it is my responsibility to use the privileges afforded to me as a member of that demographic to elevate and promote the voices of those who may be overlooked, and who may struggle to find and connect with readers or books featuring people like themselves. I was still in grade school when Dr Rudine Sims Bishop, children’s literature scholar and Professor Emerita from The Ohio State University, published her seminal essay ‘Mirrors, Windows and Sliding Glass Doors‘ (Perspectives: Choosing and Using Books for the Classroom. Vol. 6, No. 3. Summer 1990), in which she introduced teachers, librarians and other educators to a framework with which we can build and foster multicultural literacy. Nearly three decades later, I firmly believe in Sims Bishop’s philosophy; our primary duty as librarians is to provide as many different mirrors and windows as possible, in order to enable all of our users to both see themselves reflected, and to learn about other cultures. Gauging by the number of my colleagues who attended this panel, I am not the only one.

As a first-year judge for the CILIP Carnegie & Kate Greenaway Medals, I was especially gratified to see so many of my fellow judges in attendance; frequent readers will recall that CILIP has recently released the final report summarising the Independent Review of the CKG undertaken from June 2017 and has, or will shortly be, implementing a number of changes to the process as a result of these findings. I feel enormously lucky to have joined the judging panel at this point in time, as the various training opportunities made available to us will be of great use to me both personally and professionally; indeed, I can already identify a subtle shift in how I evaluate this year’s nominated titles against the awards criteria. (Time spent on said evaluations – and the sheer scale of the 2019 nominations list – may explain why this piece is being published some two months after the annual conference. Oops?) My heartfelt thanks to Chloe Buckley, Candy Gourlay and Miriam Halahmy for their time in presenting this panel, to all of the conference organisers for a fantastic experience, and to Caroline Fielding for the extremely late submission of this report….

Emerson Milford Dickson

Emerson is a secondary school librarian living and working in NE London. He represents London as a judge for the 2019/20 CKG Medals, and tweets about libraries, politics, cats and more at @microfichetaco

*CORRECTION: An earlier version of this article incorrectly attributed the ‘mirrors and windows’ theory to another individual, when in fact it is Dr Rudine Sims Bishop to whom we librarians owe a debt of gratitude for her lifetime of scholarship in the field of children’s literature. I wholeheartedly apologise for this error, which I hope will serve to remind all reading that no matter how much effort any of us may put into ‘getting it right’, our work is never truly done! – EMD 19/11/2018

Day of the Dead Display Idea

If you saw the title of this post and thought “Wait a minute… wasn’t the Day of the Dead over a week ago?” Yes you are right, it was! I had this idea too late for his year but wanted to write about it as a reminder for next year (and to share it with readers of TeenLibrarian).

For those of you who do not know what the Day of the Dead is, here is an introduction:

…Día de los Muertos, or Day of the Dead, is not a Mexican version of Halloween. Though related, the two annual events differ greatly in traditions and tone. Whereas Halloween is a dark night of terror and mischief, Day of the Dead festivities unfold over two days in an explosion of color and life-affirming joy. Sure, the theme is death, but the point is to demonstrate love and respect for deceased family members. In towns and cities throughout Mexico, revelers don funky makeup and costumes, hold parades and parties, sing and dance, and make offerings to lost loved ones.
[source: https://www.nationalgeographic.com/travel/destinations/north-america/mexico/top-ten-day-of-dead-mexico/]

Basically if you have seen The Book of Life


or Coco

you will have a basic understanding of what it is all about.

If you have not seen one or both of these films then take some time and watch them, they are beautiful and highly educational and thoroughly enjoyable for viewers of all ages.

For a deeper understanding of the Day of the Dead you can visit this resource page

My idea is rather than creating a display to educate passers-by (although this is not a bad idea to foster cultural awareness) you create an ofrenda celebrating favoured authors that have passed away.

Ofrenda: An ofrenda (Spanish: “offering”) is a collection of objects placed on a ritual display during the annual and traditionally Mexican Día de Muertos celebration.

My author display next year will feature Terry Pratchett, Ray Bradbury, Mary Shelley, Virginia Woolf, Robert Heinlein, Herge, Vita Sackville-West, Jane Austen, Jules Verne, Emily Brontë anda number of other writers I have loved.

For a great guide on how to set up an ofrenda, follow this link:

How To: La Ofrenda

CILIP Carnegie and Kate Greenaway Awards 2019

It is finally here! The biggest ever (again) nominations list for the best ever children’s books awards.

For those of you who don’t know, the Carnegie medal is awarded to the author of an outstanding piece of literature for children and young people while the Kate Greenaway medal recognises the illustrator of an outstandingly illustrated book for children and young people (the 2019 awards are for titles published in the UK between September 2017 and August 2018). Most nominations come from members of CILIP and so for a book to be nominated it must have been read and loved by at least one individual…hopefully, before nominating, that individual will have also considered whether the book meets the criteria that the judges then use to whittle the huge nominations list down to a long list of (up to) 20 each to a shortlist of (up to) 8 each to the eventual winners. Some of us (lucky us) get sent books by publishers, sometimes with a “we’d like this to be considered for CKG” note, but the nominations are all made by people with an interest in libraries for children and young people.

This summer a report was published into the diversity review (Matt blogged about it here) bringing a few changes to the process to ensure that it is as diverse and inclusive as possible:

This year, 254 books have been nominated for the 2019 Medals; 137 books are in the running for the CILIP Carnegie Medal and 117 for the Kate Greenaway Medal. Books have been put forward by a record number of nominators which, alongside CILIP members, includes several external bodies − BookTrust, CLPE, Commonword, IBBY, Inclusive Minds, National Literacy Trust and RNIB − invited to nominate as part of CILIP’s diversity and inclusion action plan for the Awards.

As part of this action plan, this year also sees:

o   an expanded judging panel of librarians, bringing a broad range of lived experiences and perspectives

o   enhanced diversity training for the judges

o   an equality, diversity and inclusion advisory panel to support and advise on the Awards process

o   a new prize voted for by children and young people

o   and a quarterly publication of Top 10 New Voices eligible for the upcoming Medals.

Scanning the lists, some favourites are there along with a few that I keep meaning to read. In the years before my judging tenure I read the full nominations list every year, and then obviously while judging I read everything (some things many times over), but as the list grows ever longer and more and more books continue to be published that will be eligible for 2020 (…2020! Wishing my life away in CKGs…) this year I’m going to alternate one book from the list with one new book and see how far I get. So far, I’ve only read 1/3 of the Carnegies (clearly spent too much time re-reading Pratchett) and nearly half the Kate Greenaways (will have to raid the public library for the rest).

What do I love that I’ve read so far? Oooh, it is fab to be able to think about favourites and not just about criteria. Every year I guarantee you every one of the judges will have to lose at least one of their favourites to those that the panel agree best meet the criteria. Judges can’t say “I loved this book because…”, they have to say “it meets this criteria because…”.

  • So my top 10 Carnegie favourites so far are: David Almond Colour of the Sun, Jo Cotterill Jelly, S.E. Durrant Running on Empty, Candy Gourlay Bone Talk, Frances Hardinge A Skinful of Shadows, Catherine Johnson Freedom, Zanib Mian The Muslims, Philip Reeve Station Zero, Jason Reynolds Long Way Down, Dave Shelton The Book Case.
  • Top 10 Kate Greenaway that I love, so far, are: Mehrdokht Amini Nimesh the Adventurer, Francesca Chessa Is it a Mermaid?, Rebecca Cobb The Day War Came, Ruth Hearson Zeki Gets a Checkup, Jean Jullien I Want to be in a Scary Story, Fiona Lumbers Luna Loves Library Day, Poonam Mistry You’re Safe With Me, Jackie Morris The Lost Words, Chris Priestly Long Way Down, Catell Ronca The Drum.

It was hard to whittle it down to 10 each and I’ve got so many left to read! I’m certain they won’t all be longlisted, but that’s the joy of picking favourites. It seems to me that the Kate Greenaway list has far fewer titles for older children than in the last few years, but of course that may well just be because half the ones I’ve not read yet are for teenagers and (having a 3 year old) I’ve gravitated more towards classic picture books! The Carnegie list seems to have something for everyone in there, I don’t envy the judges having to make those decisions*!

(*who am I kidding, of course I do, those judging meetings are intense but absolutely brilliant)

You’re Snug With Me – picture book review

 


At the start of winter, two bear cubs are born, deep in their den in the frozen north. “Mama, what lies beyond here?” they ask. “‘Above us is a land of ice and snow.” “What lies beyond the ice and snow?” they ask. “The ocean, full of ice from long ago.” And as they learn the secrets of the earth and their place in it, Mama Bear whispers, “You’re snug with me.”

You’re Snug With Me is the second time Lantana have paired Chitra Soundar with Poonam Mistry, after You’re Safe With Me, and they are a fabulous team. It is not quite a sequel, but they are both environmentally minded and each have some factual science behind the lyrical stories. My favourite example of that from this book, is:

“As the snow fell harder, the cubs grew curious. “Will it always be dark?” they asked.

“It is dark because we are far from the sun during the winter months.”

The cubs trembled.

“Don’t be afraid,” said Mama Bear. “The Earth dances on her toes and when she tilts, our nights will get shorter and spring will return.”

While the style of drawing remains consistent between the two books, the minimal colour palette in this chilly tale is completely different to that of You’re Safe With Me:  blue, white, and yellow. It is perfect for the snow filled setting, just as green, red, and yellow was perfect for the rainforest setting of Safe. The illustrations are anything but minimal though, taking up all the space with beautiful patterns making up stylised animals in breathtaking scenes. The view changes depending on how close you are to the book, with so much detail to take in.

Although Lantana are small, their growing list of picture books is extremely impressive, some of my absolute favourite titles of recent years have come from them, so do take a look at their catalogue. They make a point of working with authors and illustrators from a wide range of cultures and nationalities to ensure that every child has a chance to see themselves in stories; ‘a publishing house with inclusivity at its heart’