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Walk into many a children’s room in a public library and then take a trip to Dewey Decimal number 398.2.  If the room is relatively old and has withstood regular weeding schedules then you may find yourself in a remarkably large folktale and fairytale section.  The titles, however, will probably be a bit on the dusty side.  Long ago, when libraries held the primary purchasing power when it came to children’s literature, they had some sway over publishing.  Thanks in large part to their dual appreciation of storytelling and multiculturalism,  librarians exhibited a keen love for folktales.  These folktales were an attempt to inject into their collections a bit of diversity.  The likelihood that they would be able to locate picture books set in contemporary countries was even more unlikely then than it is now, so at the very least they could rely on the large swath of folktales published every year to speak a little to that gap.

The rise of the big box bookstores like B. Dalton signaled the beginning of the end of librarians’ sway in this regard.  With the public having access to children’s books above and beyond children’s bookstores (if their town was lucky enough to have one) and children’s librarians (ditto), the publishing model changed.  Librarians didn’t have the influence they used to, and the call for folktales may also have been hampered by library schools not placing the same emphasis they used to on old-fashioned storytelling.  When I joined with New York Public Library in 2004 they were still teaching new hires the finer points of storytelling.  By 2008, that training was a thing of the past.

The folktale, however, is by no means dead.  While a significant slump occurred over the years as the big publishers moved away from the form, small independent publishers picked up the slack.  This year alone I’ve seen folktales coming from folks like Inhabit Media, Wisdom Tales Press, Tuttle Publishing, Sleeping Bear Press, Red Chair Press, Albert Whitman & Co., Fontanka Publishers, and Frances Lincoln Children’s Books.  These tales are Russian, Cherokee, Inuit, Vietnamese, Abenaki, and Navajo, amongst others.

Last night I sat down with my daughter and read her Why Mosquitoes Buzz in People’s Ears by by Verna Aardema, illustrated by the Dillons.  The book dates back to a time when African folktales (much like folktales by Native Americans) were rarely credited to a country, let alone a tribe.  In the case of African folktales the phrase, “An African folktale” was sort of roundly stamped on a book and that was that.  Why Moquitoes Buzz in People’s Ears is considered West African, and from what I can tell has been free of the controversy that would today surround a book like Gail E. Haley’s Caldecott winning A Story, A Story, which was merely said to be retelling an “African tale”.

As I read the Aardema book, I got to thinking about African folktales and how few are published these days.  Certainly very few folktales are published in general, but of these hardly any hail from specific African nations or tribes anymore.  Because New York Public Library always makes a point of including fairytales and folktales on the 100 Books for Reading and Sharing list each year, I flipped through the last ten years’ worth to see how many of the books included were African in origin.  What I’m including in this post is by NO means a systematic list.  After all, I haven’t been keeping meticulous track over the past decade.  Therefore, I would like to encourage you to let me know if you are aware of any particularly good African folktale retellings published between 2004-2015.  Tell me and I will include them here.

2015

For this year, I was able to locate two books, which was more than I initially expected.  They were:

Party Croc! A Folktale from Zimbabwe by Margaret Read MacDonald. Illustrated by Derek Sullivan

Who Is King?: Ten Magical Stories from Africa by Beverley Naidoo. Illustrated by Piet Grobler

2013

I couldn’t really find anything.  I wanted to make an exception with Ashley Bryan’s Can’t Scare Me, but for all that the book makes for an amazing original folktale, insofar as I can tell it is not based on anything but Mr. Bryan’s wonderful imaginings.

2012

I really thought I had a chance including the Botswana story Ostrich and the Lark by Marilyn Nelson, illustrated by six contemporary San artists.  However, while it is truly beautiful and feels like a folktale, technically it’s an original story.

2011

In 2011 Nigerian Chinua Achebe’s story How the Leopard Got His Claws was republished from its original 1972 story (originally from Kenya).  It was illustrated by Mary GrandPre and was a lush and surprisingly long retelling. That said, it looks like it’s not a traditional folktale but an original story.  Worth knowing just the same.

2008

One book I completely missed and am glad to discover now is Wiil Wall: A Somali Folktale by Kathleen Moriarty, illustrated by Amin Amir.  It won an Honor from the Children’s Africana Book Award (more on that at the end of this post).  Best of all, it’s bilingual in Somali-English.

When John and Caitlin Matthews published Trick of the Tale: A Collection of Trickster Tales, that was really the last time I saw Anansi (in their story “How Ananse Stole All the Stories”), unless you count Eric A. Kimmel’s Anansi’s Party Time, which wasn’t really a folktale.

And that’s all I found.

Mind you, if we could include Aesop’s tales as African folktales then we get a slightly larger pool from which to draw.  The most notable of these would be Jerry Pinkney’s The Lion and the Mouse in 2009, which set the Aesop classic against the Serengeti.  In 2014 we saw the stunning The Fox and the Crow by Manasi Subramaniam, illustrated by Culpeo S. Fox, and in 2013 there was Aesop in California by Doug Hansen.

And of course there’s Egypt.  In 2011 Marcia Williams published Ancient Egypt: Tales of Gods and Pharaohs and in 2013 National Geographic published The Treasury of Egyptian Mythology by Donna Jo Napoli, illustrated by Christina Balit.  Not really what I’m talking about either, though.

By the way, if you are not aware of them, I encourage you to learn more about an award that would speak to these books.  The Children’s Africana Book Awards are of note.  As their website reads,  “In 1991, the Outreach Council of the African Studies Association accepted a proposal from Africa Access to establish awards honoring outstanding books on Africa published or republished in the United States. The first Children’s Africana Book Awards were presented in 1992. Annually since that time awards are presented to authors and illustrators in two categories, Young Children and Older Readers. Click here for Past Winners for Older Readers.”

On the Shoulder of a Giant: An Inuit Folktale
By Neil Christopher
Illustrated by Jim Nelson
Inhabit Media
$16.95
ISBN: 978-1-77227-002-0
Ages 4-7
On shelves now

My daughter is afraid of giants. She’s three so this isn’t exactly out of the norm. However, it does cut out a portion of her potential reading material. Not all giants fall under this stricture, mind you. She doesn’t seem to have any problem with the guys in Giant Dance Party and “nice” giants in general get a pass. Still, we’ve had to put the kibosh on stories like Jack and the Beanstalk and anything else where getting devoured is a serious threat. Finding books about good giants is therefore an imperative and it walks hand in hand with my perpetual search for amazing folktales. Every year I scour the publishers for anything resembling a folktale. In the old days they were plentiful and you could have your pick of the offerings. These days, the big publishers hardly want to touch the stuff, so it’s up to the smaller guys to fill in the gaps. And no one stands as a better folktale gap filler than the Inuit owned company Inhabit Media. Producing consistently high quality books for kids, one of their latest titles is the drop dead gorgeous On the Shoulder of a Giant. Funny, attractive, and a straight up accurate folktale, this is children’s book publishing at its best. And as for the giant himself, my daughter has never run into a guy like him before.

“…if there is only one Arctic giant story you take the time to learn about, this is the one to remember.” Which giant? Why Inukpak, of course! Large (even for a giant) our story recounts Inukpak’s various deeds. He could stride across wide rivers, and fish full whales out of the sea. In his travels, there was one day when Inukpak ran across a little human hunter. Misunderstanding the man to be a small child, the giant promptly adopted him. And since the man was no fool he understood that when a giant claims you, you have little recourse but to accept. He went along with it. The giant fished their dinner and when a polar bear threatened the hunter Inukpak flicked it away like it was no more than a baby fox or lemming. In time the two became good friends and had many adventures together. Backmatter called “More About Arctic Giants” explains at length about their size, their fights, their relationship to the giant polar bears, and how they may still be around – maybe right under your feet!

I’ve read a lot of giant fare in my day and I have never encountered a tale quite like this. Not that the story really goes much of anywhere. The only true question you find yourself asking as you read the tale is whether or not the hunter will ever confess to the giant that he isn’t actually a child. But as I read and reread the tale, I came to love the humor of the tale. Combined with the art, it’s a lighthearted story. In fact, one of the problems is also a point in its favor. When you get to the end of the tale and are told that Inukpak and the hunter had many adventures, you want to read those immediately. One can only hope that Mr. Christopher and Mr. Nelson will join forces yet again someday to bring us more of this unique and delightful duo.

I’m no expert on Inuit culture so it doesn’t hurt that in the creation of “On the Shoulder of a Giant” author Neil Christopher has the distinction of having spent the last sixteen years of his life recording and preserving traditional Inuit stories. Having seen a fair number of books of Native American folktales where the selection of the tales is offhanded at best, the care with which Christopher chooses to imbue his book with life and vitality is notable. The book reads aloud beautifully, and would serve a librarian well if they were told to read aloud a folktale to a group. Likewise, the pictures are visible from long distances. This story begs for a big audience.

I’ve seen a lot of small presses in my day. Quality can vary considerably from place to place. Often I’ll see a small publisher bring to life a folktale but then skimp on the artist chosen to bring the story to life. It’s a sad but common occurrence. So common, in fact, that when it doesn’t happen I’m shocked out of my gourd. Inhabit Media is one of those rare few that take illustration very seriously. Each of their books looks good. Looks not just professional but like something you’d want to take home for yourself. On the Shoulder of a Giant is no exception. This time the artist tapped was freelance illustrator Jim Nelson. He’s based out of Chicago and his art has included stuff like Magic the Gathering cards and the like. He is not, at first glance, the kind of artist you’d tap for a book of this sort. After all, he works with a digital palette creating images that would seemingly be more at home in a comic book than a classic Inuit folktale. Yet what are folktales but proto-superhero stories? What are superhero comics but just modern myths? Inukpak is larger than life and, as such, he demands an artist who can bring his physicality to bear upon the narrative. When he’s fishing for whales I wanna see that sucker fighting back. When he strides across great plains I wanna be there beside him. Nelson feeds that need.

Since Nelson isn’t Inuit himself, the question of how authentic his art may be arises. I am willing to believe, however, that any book published by a company operating with the sole intent to “preserve and promote the stories, knowledge and talent of Inuit and northern Canada” is going to have put the book through a strict vetting process. It would not be ridiculous to think that Nelson’s editor informed him of where to research classic Inuit clothing and landscapes. I loved every inch of Nelson’s art on this story but it was the backmatter that really did it for me. There’s a section that is able to show the difference in size between a inukpasugjuit (“great giant”), a inugaruligasugjuk (“lesser giant”), and a regular human that does a brilliant job of showing scale. That goes for the nanurluit (giant polar bear) in one of the pictures, relentlessly tracking two tiny hunters in their boats. But it is the final shot of a sleeping giant under the mountains as people walk on to of him, oblivious that will really pique young imaginations.

I’m not saying that On the Shoulder of a Giant has the ability to single-handedly rid my daughter of her fear of giants as a whole. It does, however, stand out as a singularly fun and interesting take on the whole giant genre. There’s nothing on my library shelves that sounds or feels or looks quite like this book. It could well be the poster child for the ways in which small publishers should examine and publish classic folktales. Beautiful and strange with a flavor all its own, this is one little book that yields big rewards. Fantastico.

On shelves now.

Source: Final copy sent from publisher for review.

Like This? Then Try:

• Swamp Angel by Anne Isaacs
• Big Jabe by Jerdine Nolan
• Dona Flor by Raul Colon

The Fox and the Crow
By Manasi Subramaniam
Illustrated by Culpeo S. Fox
Karadi Tales
$17.95
ISBN: 978-81-8190-303-7
Ages 4 and up
On shelves now

In the classic Aesop fable of The Fox and the Crow where do your loyalties lie? You remember the tale, don’t you? Long story short (or, rather, short story shorter) a prideful crow is tricked into dropping its bread into the hungry mouth of a fox when it is flattered into singing. Naturally your sympathies fall with the fox to a certain extent. Pride goeth before the bread’s fall and all that jazz. Now there are about a thousand different things that are interesting about The Fox and the Crow, a collaboration between Manasi Subramaniam and Culpeo S. Fox. Yet the thing that I took away from it was how my sympathies fell, in the end, to the prideful crow victim. His is a miserable existence, owed in part due to his own self-regard and also to not seizing the moment when it presents itself. Delayed gratification sometimes just turns into no gratification. Lofty thoughts for a book intended for four-year-olds, eh? But that’s what you get when something as lovely, dark, and strange as this particular The Fox and the Crow hits the market. Gorgeous to eye and ear alike, the story’s possibilities are mined beautifully and the reader is left reeling in the wake. If you’d like a folktale that’s bound to wake you up, this beauty has your number.

A murder of crows gathers on the telephone wires. Says the text “When dusk falls, they arrive, raucous, clamping their feet on the wires in a many-pronged attack.” One amongst them, however, cannot help but notice a fresh loaf of new bread at the local bakery. Without another thought it dives, steals the bread, and leaves the baker angrily yelling in its wake. Delighted with its prize the crow takes to a tree branch to wait. “Bread is best eaten by twilight.” Below, a hungry fox observes the haughty crow and desires the tasty morsel. She sings up to the crow. “A song is an invitation. Crow must sing back.” He does and, in doing so, loses his prize to the vixen’s maw. The last line? “A new day breaks. An old hunger aches.”

Turning Aesop fables into full picture books is a bit of an art. If you read one you’ll find that it’s remarkably short on the page. It requires a bit of padding on the author’s part. Either that or some true creativity. Look, for example, at some of the best Aesop adaptations out there. Some artists choose to go wordless (The Lion and the Mouse by Jerry Pinkney). Others get remarkably loquacious (Lousy Rotten Stinkin’ Grapes by Margie Palatini). In the case of Subramaniam, she makes the interesting choice of simplifying the text with long, luscious words while expanding the story. The result is lines like “Crow’s stomach burns with swallowed song” or “Oh, she’s a temptress, that one.” No dialogue is necessary in this book. Subramaniam shoulders all the work and though she doesn’t spell out what’s happening as simply as some might prefer (you have to know what is meant by “Crow’s pride sets his hunger ablaze” to get to the classic Aesopian moral of the tale) it’s nice to see a new take on a story that’s been done to death in a variety of different spheres.

Artist Culpeo S. Fox is new to me. From Germany (for some reason everything made a lot more sense when I learned that fact) the man sort of specializes in foxes. For this book the art takes on a brown and speckled hue. Early scenes look as though the very dirt of the ground was whipped into the air alongside the crows’ wings. Yet in the midst of all this darkness (both from the story and from the art) there’s something incredibly relatable and kid-friendly in these creatures’ eyes. The crow in particular is rendered an infinitely relatable fellow. From his first over-the-shoulder glance at the bread cooling on the windowsill to the look of pure eagerness when he alights on a private branch. It’s telling that the one moment the eye is made most unrelatable (pure white) is when he’s overcome with fury at having basically handed his loaf to the fox’s maw. Fury can be frightening.

It’s also Fox’s inclination to change from a horizontal to a vertical format over and over again that makes the book unique in some way. It’s probably the element that will turn the most people off, but it’s never done without reason. To my mind, if a book is going to go vertical, it needs to have a reason. Caldecott Honor book Tops and Bottoms by Janet Stevens, for example, knew exactly how to make use of the form. Parrots Over Puerto Rico in contrast seemed to do it on a lark rather than for any particular reason. In The Fox and the Crow each vertical shift is calculated. The very first encounter between the fox and the crow is a vertical shot. Most interesting is the next two-page spread. You find yourself not entirely certain what the best way to hold book might be. Horizontal? Vertical? Upside down? Only after a couple readings did I realize that the curve of the crow’s inquiry-laden neck echoes the fox’s very same neck curve (albeit with 75% more guile).

It’s not just the art and the story. The very size of the book itself is unique. It’s roughly 11 X 12 inches, essentially a rather large square. Work with enough picture books and you get a feel for the normal dimensions. But normal dimensions, you sense, wouldn’t quite encompass was Fox is trying to accomplish here. You need size to adequately tell this story. The darkness and beauty of it all demand it.

I am consumed with professional jealousy after reading the Kirkus review of this book. Their takeaway line? “Aesop noir”. It’s rather perfect, particularly when you consider that one reading of this book would fall under that classic noir storyline of a seedy soul done in by the wiles of a woman. Or vixen, rather. I don’t know that any younger kids would necessarily take to heart the moral message of the original story, but slightly older readers will jive to what Subramaniam is getting at. We need folktales in our collections that shake things up a bit. That aren’t afraid to get original with the source material. That aren’t afraid to get, quite frankly, beautiful on us. The pairing of Subramaniam and Fox is inspired and the book a lush treat. An Aesop necessity. Aesop done right.

On shelves now.

Source: Final copy sent from publisher for review.

Like This? Then Try:

• Baby Crow by John A. Rowe

• Fables by Aesop, illustrated by Jean-Francois Martin

• Trickster: Native American Tales, a Graphic Collection, edited by Matt Dembicki

Professional Reviews:

• A star from Publishers Weekly
• Kirkus

Never Forgotten
By Patricia C. McKissack
Illustrated by Leon and Diane Dillon
Schwartz & Wade
$18.99
ISBN: 978-0-375-84384-6
Ages 4 and up
On shelves October 11, 2011

The more I read children’s literature the more I come to realize that my favorite books for kids are the ones that can take disparate facts, elements, and stories and then weave them together into a perfect whole. That someone like Brian Selznick can link automatons and the films of Georges Melies in The Invention of Hugo Cabret or Kate Milford can spin a story from the history of bicycles and the Jake Leg Scandal in The Boneshaker thrills me. Usually such authors reserve their talents for chapter books. There they’ve room to expound at length. And Patricia McKissack is no stranger to such works of fiction. Indeed some of her chapter books are the best in a given library collection (I’ve a personal love of her Porch Lies). But for Never Forgotten Ms. McKissack took tales of Mende blacksmiths and Caribbean legends of hurricanes and combined them into a picture book. Not just any picture book, mind you, but one that seeks to answer a question that I’ve never heard adequately answered in any books for kids: When Africans were kidnapped by the slave trade and sent across the sea, how did the people left behind react? The answer comes in this original folktale. Accompanied by the drop dead gorgeous art of Leo & Diane Dillon, the book serves to remind and heal all at once. The fact that it’s beautiful to both eye and ear doesn’t hurt matters much either.

When the great Mende blacksmith Dinga found himself with a baby boy after his wife died he bucked tradition and insisted on raising the boy himself. For Musafa, his son, Dinga called upon the Mother Elements of Earth, Fire, Water and Wind and had them bless the child. Musafa grew in time but spent his blacksmithing on creating small creatures from metal. Then, one day, Dinga discovers that Musafa has been kidnapped by slave traders in the area. Incensed, each of the four elements attempts to help Dinga get Musafa back, but in vain. Finally, Wind manages to travel across the sea. There she finds Musafa has found a way to make use of his talent with metal, creating gates in a forge like no one else’s. And Dinga, back at home, is comforted by her tale that his son is alive and, for all intents and purposes, well.

McKissack’s desire to give voice to the millions of parents and families that mourned the kidnapping of their children ends her book on a bittersweet note. After reading about Musafa’s disappearance and eventual life, the book finishes with this: “Remember the wisdom of Mother Dongi: / ‘Kings may come and go, / But the fam

The Greedy Sparrow: An Armenian Tale
By Lucine Kasbarian
Illustrated by Maria Zaikina
Marshall Cavendish Children
$17.99
ISBN: 978-0-7614-5821-0
Ages 4-8
On shelves now.

As a children’s librarian in New York City I am expected to have a full knowledge of existing children’s literature as it pertains, not just to the American publishing industry, but to the world at large. If a group of unusually tall Norwegian women come in asking for children’s books by their countrymen, I am supposed to know how to locate the nearest Jo Nesbo/P.C. Abjorsen title. I have gaps, though. Whole swaths of continents where my knowledge is lacking or useless. For example, let’s say you walked up to my desk and asked me to produce as many Armenian children’s folktales as possible. I could do it, I suppose, if I did a catalog search. We might have some. But I wouldn’t be able to name them off the top of my head. The Greedy Sparrow fills in that gap nicely. An original composition based on a classic Armenian oral tale, author Lucine Kasbarian and Russian illustrator Maria Zaikina bring to life a story unfamiliar but to a few Americans. Want to bulk up your Armenian folklore for a spell? Seek ye no further than this.

A little Author’s Note appears on the publication page of this book, which I appreciated. It states right from the start, “Armenian fables begin with ‘Once there was and was not’.” After we read these words we begin our tale. A sparrow with a thorn in its foot asks a baker to remove it. The woman does so gladly, burning it up afterwards, but when the sparrow returns and asks for his thorn back she has nothing to give him. Pleased, he takes some bread instead. Next, he visits a shepherd with a flock and asks the man to look after his bread. The fellow does for a time, but eats the bread when hunger overtakes him. As payment, the sparrow takes a sheep. Through these sneaky methods the sparrow exchanges a sheep for a human bride, a human bride for a lute, and finally he loses the lute, his ultimate prize, when he falls from a thorn tree. Lute gone. New thorn in his foot.

I have a tendency to lament the death of the picture book folktale on a nice and regular bi-annual schedule. Compared to the last few decades, folktales and fables are publishing at the lowest ebb seen in years. Each season I scramble to find as many as I can, often disappointed by the results. Maybe that’s why I glommed onto The Greedy Sparrow as quickly as I did. Here we have an honest-to-goodness folktale, retold for contemporary audiences, and unknown to a whole chunk of them. Kasbarian says in her bookflap that she learned to recite this story from her father who learned it from his grandmother, an Armenian storyteller. Clearly such talents are genetic since Kasbarian’s writing flows easily. You leap effortlessly from situation to situation until the end. Happily, the author sees no need to put some kind of moral capper on the tale. All she needs to write is the final sentence: “But as the sparrow rocked in glee, he lost his footing, and the lute fell, too, leaving the sparrow as he began … with nothing but a thorn in his foot!” Batta bing, batta boom. Nothing more need be said.

Trickster: Native American Tales, A Graphic Collection
Edited by Matt Dembicki
Fulcrum Books
$22.95
ISBN: 978-1-55591-724-1
Ages 9-12
On shelves now.

This year I helped a committee come up with the 100 best books for children. This list has been produced for a while and each year we make sure to include a folk and fairytale section. The problem? With each passing year publishers produce less and less folk and fairytales for kids. In the past this was a serious category, with a variety of different authors and illustrators all battling it out for folktale supremacy. Nowadays, you can read through a big publisher’s full catalog for the upcoming season and not find a single solitary folktale gracing their lists. It’s sad really. Maybe that’s part of the reason that Trickster, as edited by Matt Dembicki, appealed so strongly to me. This isn’t just a graphic novel and it isn’t just a pairing of smart writers and great artists. Dembicki has come up with a way of collecting a wide variety of Native American folktales into a single source, done in such a way that kids will find themselves enthralled. When was the last time a book of folktales enthralled one of your kids anyway? It’s remarkable. Not that it’s a perfect collection (there are a couple things I’d change) but generally speaking I hope Trickster acts as a sign of good things to come. I wouldn’t call it the ultimate solution to the current folktale crisis but I would call it a solution. And in this day and age of publishing, there’s something to be said for that.

Twenty-one Native American storytellers are paired with twenty-one artists. Each storyteller tells a tale about a trickster type character. Coyote, raven, rabbit, raccoon, dog, wolf, beaver, and wildcat all have their day. The sheer range of storytellers is impressive, calling upon folks from Hawaii to the Eastern shore, from Alaska to Florida. Sometimes the stories are told traditionally. Sometimes they utilize a lot of modern terms (you don’t usually run across the term “crystal cathedral thinking” in a book of folktales these days). The final result is an eclectic collection, where each story plays off of the ones paired before and after it. Though oral in nature, editor Matt Dembicki finds a way to make these tales as fresh and spontaneous on the printed page as when they were told to generations of eager listeners.

I liked the sheer array of kinds of tricksters in this book. In some cases they were villains that had to be outsmarted. Other times they were unrepentant bad boys (never bad girls, alas) who always got their way. Sometimes they were wise and powerful, and other times very small and more sprite than single entity. I also enjoyed seeing similar stories repeat in different places. For example, in three different stories a trickster pretends to be dead in order to lure its prospective meal nice and close. These include “Ho

Dust Devil
By Anne Isaacs
Illustrated by Paul O. Zelinsky
Schwartz & Wade (an imprint of Random House)
$17.99
ISBN: 978-0-375-86722-4
Ages 5-10
On shelves September 14, 2010

If Pippi Longstocking is a redhead known for her casual legwear, Angelica Longrider (or just “Angel” for short) would have to be considered her blatantly barefoot ginger-headed equivalent. When the Anne Isaacs Caldecott Honor winning picture book Swamp Angel took the stage back in 1994 it was cause for celebration. Here you had an honest-to-goodness new tall tale with a vernacular smart enough to match the pictures, and vice versa. The pairing of Anne Isaacs with Caldecott winner Paul O. Zelinsky was inspired. I was a big fan, yet for some reason I never considered that the book might garner a sequel. Clearly it was ripe for it, but Isaacs and Zelinsky pursued other projects and the thought was all but forgotten. Until now. After 16 years the dynamic duo is back. She’s a wordsmith. He likes to kill himself by painting on wood. Clearly, Dust Devil was meant to be.

Having found Tennessee a bit too cramped to suit her, giantess and all around decent gal Angelica Longrider (“Swamp Angel” to some) has headed further into the country to set up shop in Montana. It takes a little settling in, but she’s happy enough and even manages to tame a wild dust storm into a steed worthy of her skills. Good thing too, since that nasty Backward Bart and his band of no goodniks are terrorizing the countryside, robbing good people of their pennies. If she could wrestle a bear into submission, Angel certainly can handle a couple of toughs. But it’ll take smarts as well as skills to put these nasty bandits away. Good thing she’s got her horse.

The first thing you need to know about Anne Isaacs is the fact that her books, all her books, ache to be read aloud. It doesn’t matter if you’re perusing Pancakes for Supper or The Ghosts of Luckless Gulch. Now sometimes they’re a bit too long for storytimes (much to my chagrin) but for one-on-one reading they’re the tops. I mean, there are certain sentences that just beg you to try them on your tongue. Sentences like, “The barn began to shake, the ground to quake, the windows to break, the animals to wake, and everyone’s ears to ache!” Fear not, this isn’t a rhyming text. There are just certain sections where it’s the right thing to do.

While you’re rolling her sentences around in your mouth, there are also Zelinsky’s images to contend with. Painting on cedar and aspen veneer, Zelinsky is meticulous about his process. The result is a book that is rather achingly beautiful. Even if you don’t take to his style, you have to respect the process. The size of the images combined with the tiniest of brush

Joha Makes a Wish: A Middle Eastern Tale
By Eric A. Kimmel
Illustrated by Omar Rayyan
Marshall Cavendish
$17.99
ISBN: 978-0-7614-5599-8
Ages 4-8
On shelves now

There was a time, best beloved, when folktales and fairytales were common. Every other season they filled the publishers’ lists and librarians bought such books in droves. My own library’s children’s room contains a large and impressive folktale section, where parents can grab anything from your standard Snow White tale to perhaps a lesser known story like Anansi and the Moss-covered Rock. That particular folktale, by the way, is by one Eric A. Kimmel, a man who has spent much of his life finding and retelling classic folktales from a variety of different cultures for the American audience. Sadly, I estimate that in 2010 the number of folktales published for kids will, if we’re lucky, come to about ten. Max. And of those ten, how many will be any good? Well, at the very least you can count on Joha Makes a Wish. Adapted by the aforementioned Mr. Kimmel and illustrated by the too-little-known Omar Rayyan, Joha is one of those stories that remind you why we like folktales so much in the first place. They amuse, they inform, and they give us glimpses into cultures other than our own. In this particular case, the Middle East.

On a trip to Baghdad our hero Joha attempts to take a nap against an ancient wall. This doesn’t go so well, though, when the wall collapses behind him, revealing a stick and a scroll that proclaims, “You have found a wishing stick.” Delighted, Joha wishes for new shoes, only to find his old ones gone. A wish for the stick to disappear glues it to his hand. A wish to ride a donkey finds him carrying the animal instead. And you can pretty much guess what happens when he attempts to remove the sultan’s wart. After an encounter with a clever merchant the two realize that he’s been holding the stick upside down. Joha returns to the sultan to remove the copious warts, then finds his stick co-opted by the greedy ruler. Riding a small donkey away at the end, Joha speculates whether or not he should have told the sultan how to use the stick. In the end, it’s evident that he did not.

In his Author’s Note at the start of the book, Kimmel explains a little bit about your classic Joha tale. Joha’s a fool character, much like Jack in European tales. Kimmel ties him into a couple other characters, including Sancho Panza, suggesting that Cervantes got the idea for Sancho when he heard the Joha stories that circulated when he was in a Turkish prison. In Jewish tales, your fool character is either a schlemiel or a schlimazel. In this particular story, Joha is clearly on the schlimazel side of things. He’s a victim, until he can take charge of his problem and then foist it onto someone else. You sympathize with the guy, but at the same time there’s a certain bit of schadenfreude watching him carrying a donkey or fleeing from the authorities on foot.