A conceptual poetry book that plays with the idea of historical First Nations' representation through visual and erasure poems.

The renowned Caldecott Honoree and illustrator of Chicka Chicka Boom Boom provides a moving, intimate, and inspiring inside look at her colorful picture book career. Lois Ehlert always knew she was an artist. Her parents encouraged her from a young age by teaching her how to sew and saw wood and pound nails, and by giving her colorful art supplies. They even gave her a special spot to work that was all her own. Today, many years and many books later, Lois takes readers and aspiring artists on a delightful behind-the-scenes tour of her books and her book-making process. Part fascinating retrospective, part moving testament to the value of following your dreams, this richly illustrated picture book is sure to inspire children and adults alike to explore their own creativity.

Award-winning Nisga'a poet Jordan Abel's third collection, Injun, is a long poem about racism and the representation of indigenous peoples. Composed of text found in western novels published between 1840 and 1950 - the heyday of pulp publishing and a period of unfettered colonialism in North America - Injun then uses erasure, pastiche, and a focused poetics to create a visually striking response to the western genre. After compiling the online text of 91 of these now public-domain novels into one gargantuan document, Abel used his word processor's "Find" function to search for the word "injun." The 509 results were used as a study in context: How was this word deployed? What surrounded it? What was left over once that word was removed? Abel then cut up the sentences into clusters of three to five words and rearranged them into the long poem that is Injun. The book contains the poem as well as peripheral material that will help the reader to replicate, intuitively, some of the conceptual processes that went into composing the poem. Though it has been phased out of use in our "post-racial" society, the word "injun" is peppered throughout pulp western novels. Injun retraces, defaces, and effaces the use of this word as a colonial and racial marker. While the subject matter of the source text is clearly problematic, the textual explorations in Injun help to destabilize the colonial image of the "Indian" in the source novels, the western genre as a whole, and the Western canon.

Born in Hungary in 1927, Magda Hollander-Lafon was among the 437,000 Jews deported from Hungary between May and July 1944. Magda, her mother, and her younger sister survived a three-day deportation to Auschwitz-Birkenau; there, she was considered fit for work and so spared, while her mother and sister were sent straight to their deaths. Hollander-Lafon recalls an experience she had in Birkenau: “A dying woman gestured to me: as she opened her hand to reveal four scraps of moldy bread, she said to me in a barely audible voice, ‘Take it. You are young. You must live to be a witness to what is happening here. You must tell people so that this never happens again in the world.’ I took those four scraps of bread and ate them in front of her. In her look I read both kindness and release. I was very young and did not understand what this act meant, or the responsibility that it represented.” Years later, the memory of that woman’s act came to the fore, and Magda Hollander-Lafon could be silent no longer. In her words, she wrote her book not to obey the duty of remembering but in loyalty to the memory of those women and men who disappeared before her eyes. Her story is not a simple memoir or chronology of events. Instead, through a series of short chapters, she invites us to reflect on what she has endured. Often centered on one person or place, the scenes of brutality and horror she describes are intermixed with reflections of a more meditative cast. Four Scraps of Bread is both historical and deeply evocative, melancholic, and at times poetic in nature. Following the text is a “Historical Note” with a chronology of the author's life that complements her kaleidoscopic style. After liberation and a period in transit camps, she arrived in Belgium, where she remained. Eventually, she chose to be baptized a Christian and pursued a career as a child psychologist. The author records a journey through extreme suffering and loss that led to radiant personal growth and a life of meaning. As she states: "Today I do not feel like a victim of the Holocaust but a witness reconciled with myself.” Her ability to confront her experiences and free herself from her trauma allowed her to embrace a life of hope and peace. Her account is, finally, an exhortation to us all to discover life-giving joy.

Tess has taken some ribbing from her fellow officer, Logan, for her quilting hobby. He finds it hard to align the brisk professional officer he patrols with during the day with the one who quilts in her off-time. Besides, he's been trying to get to know her better and he'd like to be seeing her during those few nights a week she spends with her quilting guild. Then one afternoon Tess and Logan visit her aunt in the nursing home, and the woman acts agitated when Tess covers her with the story quilt. Aunt Susan is attempting to communicate a message to them about Tess's uncle. There's a story behind this quilt, they realize, one that may lead them to a serial killer. Will they have a chance to have a future together, or will the killer choose Tess for his next victim before they find him?

As a new generation of activists demands an end to racism, A Place to Land reflects on Martin Luther King, Jr.'s "I Have a Dream" speech and the movement that it galvanized. Winner of the Orbis Pictus Award for Outstanding Nonfiction for Children Selected for the Texas Bluebonnet Master List Much has been written about Martin Luther King, Jr. and the 1963 March on Washington. But there's little on his legendary speech and how he came to write it. Martin Luther King, Jr. was once asked if the hardest part of preaching was knowing where to begin. No, he said. The hardest part is knowing where to end. "It's terrible to be circling up there without a place to land." Finding this place to land was what Martin Luther King, Jr. struggled with, alongside advisors and fellow speech writers, in the Willard Hotel the night before the March on Washington, where he gave his historic "I Have a Dream" speech. But those famous words were never intended to be heard on that day, not even written down for that day, not even once. Barry Wittenstein teams up with legendary illustrator Jerry Pinkney to tell the story of how, against all odds, Martin found his place to land. An ALA Notable Children's Book A Capitol Choices Noteworthy Title Nominated for an NAACP Image Award A Bank Street Best Book of the Year A Notable Social Studies Trade Book for Young People A Booklist Editors' Choice Named a Best Book of the Year by Publishers Weekly, Kirkus Reviews, and School Library Journal Selected for the CBC Champions of Change Showcase

As long as women have sewed, there have been boxes of scraps and recycled garments in their homes. The women of the Collins family have such a treasure box, which down through time is opened by: Bridgit, free as the wind on the Dakota prairie, who may have found love in the form of a sedate minister. Will making her own wedding dress prove to be her undoing?; Maggie, who suddenly finds herself alone in the world. Can she find healing for her broken heart in restoring a quilt for the new railroad stationmaster?; Leah, who struggles even to clothe her son during World War II. Should she trust the stranger who befriends her boy, in spite of rumors surrounding the man?; Colleen, who believes love has reentered her life - only to have her hopes dashed by scandal. Could the scrap book she assembles from bits of fabric help to piece her faith back together, as well? In the scrap box, each woman finds lessons passed on from her ancestors - vital bits of history, pieced together with love, bound by threads of faith.

“A whole new way to celebrate ingredients that have long been wasted. Lindsay-Jean is a master of efficiency and we’re inspired to follow her lead!” —Amanda Hesser and Merrill Stubbs, cofounders of Food52 In 85 innovative recipes, Lindsay-Jean Hard—who writes the “Cooking with Scraps” column for Food52—shows just how delicious and surprising the all-too-often-discarded parts of food can be, transforming what might be considered trash into culinary treasure. Here’s how to put those seeds, stems, tops, rinds to good use for more delicious (and more frugal) cooking: Carrot greens—bright, fresh, and packed with flavor—make a zesty pesto. Water from canned beans behaves just like egg whites, perfect for vegan mayonnaise that even non-vegans will love. And serve broccoli stems olive-oil poached on lemony ricotta toast. It’s pure food genius, all the while critically reducing waste one dish at a time. “I love this book because the recipes matter...show[ing] us how to utilize the whole plant, to the betterment of our palate, our pocketbook, and our place.” —Eugenia Bone, author of The Kitchen Ecosystem “Packed with smart, approachable recipes for beautiful food made with ingredients that you used to throw in the compost bin!” —Cara Mangini, author of The Vegetable Butcher

A historical chapter book series from three-time Coretta Scott King Award winner and Newbery Honor author, Patricia C. McKissack. Why has their grandmother bothered keeping a menu from a restaurant that closed years ago, a restaurant that never served very good food in the first place? Three cousins listen to Gee's own story, set in the early days of lunch counter sit-ins in Nashville, a time when a black child could sit up front in a city bus but still could not get a milk shake at a downtown restaurant. Through the eyes of ten-year-old Abby, young readers see what it was like to live through those days, and they'll come to understand that, like a menu, freedom is about having choices. Each book in this series tells the story behind a different "scrap of time"; together they form a patchwork quilt of one black family's past that stretches back for generations. "A perfect introduction to an extraordinary time when regular people, even ten-year-old girls, make a difference." --The Horn Book "The book gives readers a kid's-eye view of important happenings and reminds them that history is something that is in the making." --Booklist

WINNER of the Hubert Evans Non-Fiction Prize at the 2022 BC and Yukon Book Prizes From Griffin Poetry Prize winner Jordan Abel comes a groundbreaking, deeply personal, and devastating autobiographical meditation that attempts to address the complicated legacies of Canada's residential school system and contemporary Indigenous existence. As a Nisga'a writer, Jordan Abel often finds himself in a position where he is asked to explain his relationship to Nisga'a language, Nisga'a community, and Nisga'a cultural knowledge. However, as an intergenerational survivor of residential school--both of his grandparents attended the same residential school--his relationship to his own Indigenous identity is complicated to say the least. NISHGA explores those complications and is invested in understanding how the colonial violence originating at the Coqualeetza Indian Residential School impacted his grandparents' generation, then his father's generation, and ultimately his own. The project is rooted in a desire to illuminate the realities of intergenerational survivors of residential school, but sheds light on Indigenous experiences that may not seem to be immediately (or inherently) Indigenous. Drawing on autobiography and a series of interconnected documents (including pieces of memoir, transcriptions of talks, and photography), NISHGA is a book about confronting difficult truths and it is about how both Indigenous and non-Indigenous peoples engage with a history of colonial violence that is quite often rendered invisible.