#torchystacos knows how to make it awkward when you are dining alone
Deftones... Haven't seen them since White Pony. We're both getting up there...
Morning visitors in Cole.
Date night! #emptynest
Drew doesn't have Instagram... :(
Trying out the Reuben at Olive & Finch. (Protip: bring a lunch buddy to share with... that's a lot of sandwich)
Coming down the backside.
Our “Ms. Smarty-Pants” narrator is indignant that people believe Adrian Simcox has a horse. Despite her teacher’s instruction that they should “try to be understanding. [And] be patient,” our narrator is not and she calls him out on his lies. And the question quickly becomes, just who is causing actual harm here?
She takes the opportunity to consider the situation differently, to see Andrian in a more generous light. And as she acknowledges Adrian’s imagination, he’s surrounded by color and life, and the silhouette of something it may take the next page to reveal…
We may desire to be the kinder more generous reader who identifies with Adrian, but Campbell is clever in having us read/adopt the voice of this narrator for the reading. We speak her aloud at the beginning, through that change, and we speak her realization at the end. We find that we can be right and wrong at the same time. Adrian does and does not have a horse. It’s perspective, intent, and maybe none of our damn business. What does our righteousness risk us, and what does righteousness actually look like. What matters?
Adrian Simcox Does NOT Have a Horse is a story that involves kindness, imagination, being different, and stealing people’s joy. It’s particularly significant for the black-and-white rule-following crowd; especially as they age and must begin to acknowledge context, and not just our relationship to the rules/knowledge, but our relationship to one another and how that reinterprets those rules…and what you know.
Campbell & Luyken allows our narrator to relent, to change without placing the burden on Adrian or anyone else (not even the mother)—and it is powerful.
#adriansimcoxdoesnothaveahorse #marcycampbell @corinnaluyken
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#jesseball in #census: my brother's "life is something so tremendous, so full of light, that I thought I must write a book that helps people to see what it is like to know and love a Down syndrome boy or girl. It is not like what you would expect.” #wdsd2019 #mustread
3 Beautiful Things:
1 : (pictured) A tree I walk near daily has blossomed, cheerful medium-sized white flowers
2 : the breeze picks up just as @th3lostb0y w/ his superior camera phone tries to photograph them for me.
3 : taking the daily last walk with the husband & our Eleanor dog on a such mild evening
Feel free to share at least 1 beautiful thing from your last 24 hours.
#3beautifulthings #3bt #lifedarnell
@talya_wren is DJ Wren on #krrc on Thursdays from 1-2 pm Pacific. Stream her radio show at krrc.fm #reedie
In the company of her amigos (her pets and toys), Maya Papaya plays dress-up throughout the year. Primavera, Verano, Otoño, Invierno…each of the seasons inspire their own play. Maya and the season set a playful tone, inviting the reader to participate the fun. Anticipate that a reader/listener will their time with this book in some imaginative play of their own.
Mola’s illustrations are pretty and full of personality. And while there are a lot of characters and Mola provides other opportunities for visual interest, her illustrations are not overwrought. You could reread this picture book multiple times and just pick a peluches or pet to follow through the season each time.
MP is bilingual, Middleton moving between Spanish and English in the rhyming text. Mola’s illustrations offer visual cues and there is a glossary with pronunciations at the close of the book. MP is a wonderful opportunity to have a picture book in your rotation that features two languages in ease and at play with one another. It’s important for a child to not only hear but see multiple languages. And while the temptation will be to read this one to girls, remember that boys also enjoy dress-up play and pretend with their toys and pets.
#mayapapaya #susanmiddletonelya @madoucepatrie @charlesbridgepublishing 2018
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How to celebrate #womenshistorymonth :(re)watch Miss Fisher Murder Mysteries based on the #kerrygreenwood novels [phrynefisher.com]. Can’t wait for the movie @missfisher_official
The illustrations are ones to linger upon, and the text invites a slowing down. Often we take rhyme as a means to sing our way along, fluid and bouncing with a lightness and swiftness. Johnston employment of loose rhyme, non-uniform lines, and punctuation controls the rhythm and guides the reader into a slower more meditative experience. Take those pauses at full-stops wherever you find them. Savor and breathe—just as you should those moments spoken about in the story, and in the memories you are making and recalling in your every day.
Something I especially adore about Loving Hands is how a nurturing mother is raising a nurturing son. Walking through the pages: “her Lamb”; snuggling; in a garden with vegetables and flowers; planting; baking; feeding birds in winter. The mother sings songs and plays and tends wounds; tells her son that he is not only brave, but tells him “we’re brave as bears”; they gaze at the stars together (future, possibility, legacy); and she has newspaper tucked under arm and wears business attire as she waves him off to his own life outside the house (school). It may seem like a small matter, but I love that the mother’s wardrobe changes. And that few of their interactions play out in classically domestic spaces.
The first read will be an uncomplicated pleasure that will blink with tears. And you’ll return to it again and again to appreciate the craftsmanship of its creators.
#lovinghands #tonyjohnston #amyjunebates @candlewickpress 2018
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As the neighbor holds a plush elephant and peers out the window, they tell us what they KNOW. Interpreting the sights, smells, sounds, the unnamed narrator imagines Zola—the new girl moving in—is having a bath with her elephant, feeding it lots of toast and playing hide-and-seek. Following every whimsical double-page image that accompanies what the narrator knows is a double-page of image of what is really happening (sans text). The differences are necessarily stark and jarring.
The neighbor is certain that Zola is living this full magical life with their elephant friend and because she is, they are certain that there is no room for them. An elephant would, naturally, take up a lot of space. [But] Zola has room and could use a friend like the unnamed neighbor to transport them both from the lonely, loud, disruptive reality of moving (the elephant in the room). Zagarenski’s illustrations are captivating, but marvelous for us (and the writer, no doubt) that they do not surpass what text has to offer. Zola’s Elephant is not only striking visually, but in what de Sève accomplishes. She turns expectations on their head in multiple ways, playing with not only the narrator’s imagination, but our own. The burden of courage in this ‘Moving’ book is on the neighbor, not the New Kid.
An absolute must.
#zolaselephant #randalldeseve @sacredbee @hmhbooks 2018
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#amreading #ya #historicalfiction | “Melati Ahmed has imagined her mother’s death countless times. Plagued the gruesome thoughts she believes are put into her head by a djinn, Malati has developed an intricate set of tapping rituals to tame the monster within and keep her mother safe. But there are things that Malati can’t protect her mother from. On the evening of May 13, 1969, racial tensions in her home city of Kuala Lumpur boil over. The Chinese and Malays are at war, and Mel and her mother become separated by a city in flames.” #theweightofoursky #womenwriters
Written in rhyme, Luyken is lyrical, evoking images of how the heart can manifest itself in known and unexpected ways. It’s the unusual written images that, of course, captured my attention. The first image is familiar: “My heart is a window.” But what follows after the comma held my imagination: “my heart is a slide.” My mind considering the printmaker’s monotype of ink and pencil: the forward lean of the unseated child at the top of the slide: anticipation, exhilaration, the belly-flutter in the rush and drop, in ascent up the ladder, the descent; the indecision: let go, hands up or creep with heels dug in, hands inching or.
The first read is a slow rhythmic turn of the pages, but My Heart is one to return to for pleasure, for thought, for inspiration and conversation.
Luyken offers us a heart that is dynamic, capable of change, subject to moods, experiences, relationships, seasons; anticipating, waiting, imagining, remembering, knowing and not in the least passive or tepid. That declarative closing statement is the emphasis in a string of empowering images and provocations: “I get to decide.” You are reminded of the title; it’s possessive. The heart may manifest itself in many ways, invoke Luyken’s verbs and metaphors (whether written or illustrated), but the heart belongs to its owner. My heart is…and it can…
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