FALL SPOTLIGHT: JASON CHIN

Deirdre Gill

Caldecott winner Jason Chin is ready for his close-up—a close-up on the tiniest things imaginable, from a Calliope hummingbird to quarks and gluons. Kirkus calls his newest picture book, The Universe in You: A Microscopic Journey (Neal Porter/Holiday House, Oct. 18), a “fantastic voyage from an accomplished author/illustrator.” He answered our questions via email.

In Grand Canyon (2017), you wrote about an incredibly vast space. How did you approach this book, which looks at the most minuscule things? I tried to imagine myself at each scale and to show what the world would look like if one were, say, the size of a hair or inside a cell. At first it wasn’t so hard, but it became more and more challenging the smaller I went. Matter behaves very differently at the scale of molecules and below, and it is impossible to accurately envision the world at the scale of quantum particles. And yet they are there at the foundation of all the matter in the universe. Figuring out how best to depict them was a fascinating challenge. Your illustrations are, as always, striking. Do you have a favorite page or spread? I like the way that the image of the interior of the cell came out. I think that it packs in a lot of information but also manages to be an attractive image. I hope it makes kids feel like the inside of their own cells is a place they’d want to explore.

I am also fond of the three spreads that show particles combining to make atoms, then molecules, and on up the chain to make our bodies and our world. These three images actually connect to each other, so if you were to cut them out of the book (I’m not suggesting you do!) and line them up, they would form a single image.

Were you a big reader as a kid? Are there any formative books you remember from your youth or any adults who influenced you as a reader or an artist? I read a fair amount as a kid, but I was more interested in drawing, and there were a lot of artists that were important to me. David Macaulay’s books fascinated me. They revealed the inner structures and the hidden stories of buildings and machines. I loved them, especially Castle (1977) and The Way Things Work (1988). Ed Young’s books really meant a lot to me, because they gave me a way to connect to my Chinese heritage. I was and still am captivated by his color and design sense. Most important, however was Trina Schart Hyman.

I grew up in Trina’s town, and she visited our elementary school every year. What an impression she made! Her visits showed me that books and art were important. Everyone admired her, and she hung her artwork in our town library. I got to see the original paintings for Canterbury Tales (1988), [adapted by Barbara Cohen], Hershel and the Hanukkah Goblins (1989), [written by Eric Kimmel], The FortuneTellers (1992), [written by Lloyd Alexander], and many more. I treasured her books and emulated her art.

Then, when I was in high school, I met her, and she became my mentor. She never gave me art lessons. What she gave me was attention. She listened to me and talked to me about my life and my art. She believed in me, and that gave me the confidence to pursue a career in the arts. It was the greatest gift, and I would not be here without her help.

Interview by Mahnaz Dar

over, the brothers spot flowers and pick some for their mother. When they come upon a fantastical palace, the brothers, hungry and thirsty, eat and drink the food they find; the girl alone resists temptations in this odd realm ruled by a lion called the Teller and populated by dozens of other animals. At last, the girl safely shepherds her brothers to the stark institution housing their mother; more mysteries arise. This is a strange tale, laden with ambiguities. However, herein lies the appeal; succinct, carefully chosen text and hauntingly beautiful artwork create a story that demands that its readers return to each page, trying to figure out answers to questions whose answers exist only in readers’ imaginations. This mesmerizing work offers potential jumping-off points to discuss many topics, including magical realism, symbolism, family relationships and roles, and mental health. Characters are light-skinned and dark-haired. (This book was reviewed digitally.)

Drink from this chalice. (Picture book. 712)

Rex, Adam Illus. by Laura Park Chronicle Books (76 pp.) $16.99 | Oct. 25, 2022 978-1-4521-8386-2

Will sweet, nutty Li’l Candy’s plunge to stardom prove transformational? Every time.

On a dark stage lit by neon bright flashes of dazzle and dominated by a towering, cutaway human body, a round, pink ingénue takes a leap of faith to the Broadway rhythms of a chorus of little carrots: “Past the teeth now! Past the tongue now! Past the palate to the pharynx! She could end up in the lung now if she blunders down the larynx. Or go higher in the head instead and come back out the nose! But she slides down the esophagus, where all the foodstuff goes.” Proving along the way that she’s not just empty calories but has a nutritional heart of gold—or, more precisely, peanut—and pausing only for the occasional production number (“My name’s Platelet! / If you’re hurtin’ / I make plugs to stop / the spurtin’!”), she, or her remains, arrive at last in the large intestine just in time for the big finale. “LET’S. GET. THIS. POTTY. STARTED. / EVERYBODY PANTS DOWN….” Taking a cue from Maris Wicks’ sensational Human Body Theater (2015), this showstopper gives the purposes and processes of digestion the lavish, glitzy production they deserve, from teeth to toilet. (This book was reviewed digitally.)

derous ovations—standing or otherwise. (Informational picture book. 58)

SainteMarie, Buffy Illus. by Julie Flett Greystone Kids (40 pp.) $18.95 | Sept. 27, 2022 978-1-77164-807-3

A love letter to family, home, and Indigenous traditions.

Cree singer/songwriter Sainte-Marie offers a glimpse of her people, their land, and their traditions in this picture book based on the lyrics to one of her songs. Through the eyes of a young child, the book brings to life the cold winter days, the awe of looking up at the nighttime sky, the freedom of running through fields of fragrant summer flowers, the delight of children who dance and sing, and the changing of the seasons. Most of all, with the refrain “Still this love goes on,” the story reminds readers of the joy we experience upon returning to those whom we love and who love us. The soothing cadence of the words, along with heartwarming illustrations by Flett, conjures up images, smells, sounds, and touch as silhouetted buffalo race across the plains and a child with eyes closed smells the burning of sweetgrass. Both the words and the bold artwork, rendered in pencil and pastel and composed digitally, evoke emotional memories of friends and family and of the place we call home. Flat colors contrast with intricate textures, making for an immersive experience. Readers will want to celebrate their own family stories with their children and share knowledge to be passed on. (This book was reviewed digitally.)

book is shelved. (sheet music, author’s note) (Picture book. 37)

Stead, Philip C. Illus. by Erin E. Stead Neal Porter/Holiday House (32 pp.) $18.99 | Nov. 8, 2022 978-0-8234-4428-1

Animal friends pull together in another collaboration from the Steads.

A disruption in routine prompts a worried group of animals to work together, just as the zoo animals rallied together when Amos McGee fell ill in the Steads’ first joint picture book, A Sick Day for Amos McGee (2010). As in that Caldecott-winning title, Philip Stead’s artful text employs repetition and just-right word choices to result in a pleasing aurality. A mule, a milk cow, and a miniature horse wonder why the farmer hasn’t arisen yet and then decide to venture forth to awaken her. Leaving the barn is daunting; as Milk Cow says, “We will have to find courage.” Erin Stead’s illustration style closely resembles that which she employed in Sick Day, though the palette here is attuned to the darkness of pre-dawn hours, ultimately giving way to the warmth of the sunrise. Before that happy ending, a whimsical

reference to a “sleeping giant” is accompanied by a picture of enormous stocking feet, toes pointing to the sky, which offers a visual echo of Amos’ feet poking out of his bedclothes as he sleeps. And yet, this is a farm setting, not a zoo, and the lightskinned farmer is a woman, not a man. The plot is also slightly more complex, with dream references that may prompt discussion about what happens in the reality of the story world and what is all a dream. (This book was reviewed digitally.)

(Picture book. 27)

Tonatiuh, Duncan Abrams (48 pp.) $19.99 | Nov. 15, 2022 978-1-4197-4942-1

Explore how intricate storytelling and painted books arose in Mesoamerica before the arrival of the Europeans.

Told from the perspective of a child speaking to a brother, this trip through Mesoamerican bookmaking begins with a summoning: “Our world, my brother, is an amoxtlalpan”—a “land of books.” There are nods to other Mesoamerican civilizations—the Chontaltin, the Mixtecah—before the narrator proclaims, “And we, the mighty Mexihcah who dwell in the valley of the volcanoes, make books too.” From there, readers follow along through a breakdown of how the Mexihcah (referred to as Aztecs in English) created books. The child explains how their parents, tlahcuilohqueh (“painters of words”), work in the amoxcalli (“house of books”). Tonatiuh deftly outlines the lengthy processes devoted to the creation of the multipaged, colorfully rendered amoxtin, from decorating book covers with feathers and precious stones to making paint out of insects. Tonatiuh probes deeper into Mexihcah culture as the narrator discusses education, literacy, and religion, describing how the four Tezcatlipocah, or gods, created the world and the god Blue Hummingbird sparked a great migration. Throughout each shift in focus, Tonatiuh’s respect and reverence for the subject shine through loud and clear as he shares knowledge of Mesoamerican books almost lost to the past (a detailed author’s note states that, following the Spanish conquest, many of the books were destroyed). As always, the author/illustrator brilliantly conveys emotions and atmosphere with his colorful visuals—an inspired offspring of pre-Columbian art. A glossary defines the Nahuatl words used throughout. (This book was reviewed digitally.)

Utterly indispensable. (bibliography, websites) (Informational picture book. 510) (This review is printed here for the first time.)

Turk, Evan Atheneum (40 pp.) $18.99 | Sept. 20, 2022 978-1-5344-0080-1

A look at the many faces and phases of the moon and a child’s understanding

of the natural world.

A child with beige skin and curly dark hair points out the window at the full moon, eager to go say hello. Together, the child and a caregiver bundle up against the wintry chill and head out on the first of many nocturnal jaunts to explore the various shapes and phases of the moon. One night, the child expresses concern about the disappearing moon. The caregiver reassures the child that all is well (“It sounds like the Moon is feeling shy. Should we go out and say hello?”), and the two sit with and comfort the moon as it slowly disappears over a period of two weeks, a process depicted in graphic novel–like panels. In an unexpected surprise, the child and caregiver appear etched white against a moonless blue-purple sky. Loose lines and expressive faces convey the closeness between the child and caregiver. Though the text is quiet and fairly straightforward, striking angles and perspectives keep each spread vibrant and eye-catching. Orblike shapes echo throughout the book—for instance, the child’s head. Warm reds, yellows, and purples used to portray indoor scenes transform into thinner, flatter hues in the cold moonlight, and a marbleized texture lends depth and movement to each illustration. This one pairs well with Jane Yolen’s Owl Moon (1987), illustrated by John Schoenherr, with a unique art style perfect for bedtime and library storytime alike, with age-appropriate STEM opportunities as well. (This book was reviewed digitally.)

nous landscape. (Picture book. 37)

Weatherford, Carole Boston & Rob Sanders Illus. by Byron McCray Henry Holt (40 pp.) $19.99 | Nov. 8, 2022 978-1-250-77950-2

A rare tribute to a heroic figure of the civil rights movement. Distinctly underrecognized in books aimed at younger audiences (in large part because he was gay—which the authors note repeatedly), Bayard Rustin well merits the credit he gets here not only for organizing the renowned March on Washington (and speaking at it, too), but for actually introducing Dr. Martin Luther King Jr. to the principles of nonviolent protest after learning pacifism at his Quaker grandmother’s knee, being imprisoned as a conscientious objector during World War II, and traveling to India to learn from Gandhi’s followers. As a

younger man, he also sang in a touring quartet, and that musical theme is picked up with a playlist of spirituals and civil rights songs posted throughout. Notable in the generous backmatter is an image of the march’s official program and an excerpted history of peaceful protest (post-Thoreau). McCray captures both a sense of the time’s widespread turmoil and of the march’s grand “mosaic of Americans” in collages that incorporate acrylics, scraps of newspaper, music, and decorated papers. (This book was reviewed digitally.)

(Picturebook biography. 810) (This review is printed here for the first time.)

Weill, Cynthia Illus. by Martín Melchor, Agustín Tinoco Cruz, Avelino Pérez & Maximino Santiago Photos by Otto Piron Cinco Puntos Press (32 pp.) $19.95 | Oct. 4, 2022 978-1-94762-760-4 Series: First Concepts in Mexican Folk Art

A trip to the library via various forms of transportation.

This is one extraordinary picture-book journey to the library: by boat, by plane, even on a skateboard. Clear, simple side-by-side sentences in English and Spanish make for a digestible text for young readers of either language and even adults with a basic handle on each. What really makes this book worth picking up, however, are Piron’s photographs of wooden sculptures carved by Oaxacan craftsmen Melchor, Cruz, Pérez, and Santiago. Many spreads appear to show the same sculpture shot from two different angles, allowing the craftsmanship to be fully appreciated. Beyond the incredibly intricate carvings, the detailed paint work shows everything from titles on book spines to individual spots on dogs to the fine-line, rich floral patterns of these folk-art pieces. Readers are exposed to many different types of transportation aside from the more obvious car and bus, like the horse cart and the pedicab. The artisans depict the library as a destination for community and story, one worth traveling to by almost every mode of transportation. (This book was reviewed digitally.)

(Picture book. 04)

Willems, Mo Union Square Kids (40 pp.) $17.99 | Sept. 6, 2022 978-1-4549-4686-1

The Pigeon is on an emotional—and

physical—roller coaster.

Since learning about the existence of roller coasters, he’s become giddy with excitement. The Pigeon prepares mentally: He’ll need a ticket and “exemplary patience” to wait in line. He envisions zooming up and down and careening through dizzying turns and loops. Then, he imagines his emotions afterward: exhilaration, post-ride blues, pride at having accomplished such a feat, and enthusiasm at the prospect of riding again. (He’ll also feel dizzy and nauseous.) All this before the Pigeon ever sets claw on an actual coaster. So…will he really try it? Are roller coasters fun? When the moment comes, everything seems to go according to plan: waiting in line, settling into the little car, THEN—off he goes! Though the ride itself isn’t quite what the Pigeon expected, it will delight readers. Wearing his feelings on his wing and speaking directly to the audience in first person, the Pigeon describes realistic thoughts and emotions about waiting and guessing about the unknown—common childhood experiences. No sentiment is misplaced; kids will relate to Pigeon’s eagerness and apprehension. The ending falls somewhat flat, but the whole humorous point is that an underwhelming adventure can still be thrilling enough to warrant repeating. Willems’ trademark droll illustrations will have readers giggling. The roller-coaster attendant is light-skinned. (This book was reviewed digitally.)

our intrepid hero on this entertaining ride. (Picture book. 36)

Witherspoon, Reese Illus. by Xindi Yan Flamingo Books (32 pp.) $18.99 | Oct. 4, 2022 978-0-593-46588-2

Actor and author Witherspoon makes her picture-book debut. Betty, a light-skinned, bespectacled child with blond pigtails, was born busy. Constantly in motion, Betty builds big block towers, cartwheels around the house (underfoot, of course), and plays with the family’s “fantabulous” dog, Frank, who is stinky and dirty. That leads to a big, busy, bright idea that, predictably, caroms toward calamity yet drags along enough hilarity to be entertaining. With a little help from best friend Mae (light-skinned with dark hair), the catastrophe turns into a lucrative dog-washing business. Busy Betty is once again ready to rush off to the next big thing. Yan uses vivid, pastel colors for a spread of a group of diverse kids bringing their dogs to be washed, helping out, and having fun, while the