Wednesday, May 30, 2018

Three Book Reviews: Brenda Schmidt, Edward Willett, and Boris W. Kishchuk

“Culverts Beneath the Narrow Road”
Written by Brenda Schmidt
Published by Thistledown Press
Review by Shelley A. Leedahl
$20.00  ISBN 978-1-77187-154-9

How interesting to watch a poet's repertoire grow and change over the years, and learn what's freshly inspiring him or her. For some it's nature, a new relationship, travel, or a loved one's passing. Trust Creighton, SK poet, visual artist, and naturalist Brenda Schmidt to eschew the usual … this former SK Poet Laureate has turned to the lowly culvert for inspiration in her latest title, Culverts Beneath the Narrow Road, and it's a romp.

This handsome collection begins with a short essay that introduces us to the kind of writer Schmidt's become. While she and her husband are driving down the Saskatchewan map, the poet blurts out questions some may consider inane. But, she writes: "Nothing I say surprises him anymore. He knows better than anyone how difficult writers can be to travel with, due in part, perhaps, to sensory overload, all these places flying by, all these junctions, private roads and keep-out signs, the mind filtering the 100 km/hr stream of information for connections …".

Indeed, connections are key in this book. Always fascinated with culverts, Schmidt's mined her own memory and discussed culverts with a variety of folks, incorporating their experiences into poems (written in various forms) that illuminate, surprise, and entertain. We learn that culverts are used for more than controlling water flow; they're also places to make love, drink wine, and play guitar (a culvert's "got great acoustics"). Cliff swallows nest in culverts, and thieves store stolen goods in them. Children, of course, race makeshift boats toward them in spring. Who doesn't remember "the official footwear" … rubber boots with "the top two inches/folded down"? Italicized quotes throughout the poems give the collection a story-telling flow.

All the good stuff of poetry is here. There's sound, ie: "The hazard lights click like heels," and a culvert "glugged like anything". The similes include "your hair falls/like a prayer plant". I admire the liberal use of personification, ie: "The Big Dipper handles breath/gently, turns and washes it," and "The stiff-lipped/culvert is the only one/whistling here". One of the many stand-out images: "your fists wet/commas at the end of your sleeves".

Schmidt's highly attuned to nature. These poems are alive with birds and bears, and they lead us across fields and ditches. Being Saskatchewan, there's also wind. And I love the clever play on former premier Lorne Calvert's name ("There's a little Lorne Culvert in all of us!").    

There's much more going on in most of these poems than the casual reader might notice. Internal rhymes, multi-purpose line breaks, and, in the longish four-sectioned poem "A Culvert Blown into Four Pieces," one story's told via the italicized first line of each tercet, and another - with more detail - when one reads each line chronologically.

In the superb piece "Elegy," Schmidt writes: "I'm not good at this./I'm not good at anything/that involves looking back/at the meltwater slowly/filling in my boot prints". Bull. This is a skilled poet having good fun, and inviting us all to join the party.   
"I Tumble Through the Diamond Dust"
Written by Edward Willett, Illustrated by Wendi Nordell
Published by YNWP
Review by Shelley A. Leedahl
$19.95  ISBN 9-781988-783178

Prolific Regina writer Edward Willett took a great idea and ran with it, and the result is his first collection of poems, I Tumble Through the Diamond Dust, a collection of twenty-one fantastical poems with illustrations by his niece, Albertan Wendi Nordell. That initial great idea? It began with former SK Poet Laureate Gerald Hill's 2016 "first lines" project, in which he e-mailed the first two lines from poems by two SK writers each week day in April and invited all Saskatchewan Writers' Guild members to use them as springboards for new poems. Willett embraced the challenge, and the result is this creative, entertaining, and occasionally spine-tingling collection of poems that no one but Willett – well-known for authoring sixty books, including twenty science fiction and fantasy novels – could pull off.

Willett claims a life-long love affair with poetry, but admits he's not known as a poet. The man is a story-teller, through and through, thus it's not surprising that each of these poems tells a miniature story, many with an apocalyptic or space-based bent. The black and white illustrations contain figures or creatures that accentuate the often haunting work, which includes titles like "This is the Way the World Ends" and "The Labyrinth of Regret".

Despair and loneliness are major players here. Take the poem "Virtuality," partly inspired by Barbara Langhorst's line: "It wasn't the flu/the sad stones in my heart simply ran out of room". Willett takes this and gives us a melancholy character who "exchange[s]/the real life for the virtual" - hopefully his "second life" will be happier. In the piece "Facing the Silence," "Hope crumbles to dust" as a "tsunami of night" blackens out the world, and a couple, waiting for certain extinction, sit in a cabin "where normal still reigns:/the steam from our tea mugs,/the crackle of fire". This well-wrought poem and the accompanying illustration make a highly effective pairing.  

But it's not all darkness and foreboding: the book ends with a rollicking poem inspired in part by the lines - and cowboy poetry rhythm - of Ken Mitchell. In Willett's poem people live in "colonies out 'mongst the stars," and the protagonist, Old Bill, "was born in a starship" and rides a robotic horse. Willett's turned to lines from Stephen Scriver and Joanne Weber to inspire "Saint Billy," about a man whom God wants to saint so "he can talk to all them sinners" about things like "their drivin' after/drinkin' and their gamblin' and their/droppin' of the final g's on words".

The poet's written several of his own quotable lines, ie: "Now, please don't think we're prejudiced/against vampires," and I loved the small stanza he's made using the first two lines from a Sheri Benning Poem: "In the near dark,/when she's almost asleep/there are stories".

I've read about 90% of the books the quotes were drawn from – Willett's also used one of my lines in this collection – and it's fascinating to see how he's spun these lines into something fresh … and most unexpected. 


"Possessions: Their Role in Anger, Greed, Envy, Jealousy, and Death"
by Boris W. Kishchuk
Published by DriverWorks Ink
Review by Shelley A. Leedahl
$19.95  ISBN 978-1-927570-42-5

I love games: card, word, trivia, etc., and I've usually been fortunate to have someone in my circle who also enjoys a friendly but spirited competition. Why share that in a review of Saskatoon writer Boris W. Kishchuk's latest nonfiction title, Possessions: Their Role in Anger, Greed, Envy, Jealousy, and Death? Read on.

In the preface to this exquisitely-researched book Kishchuk writes that he's wondered "why people kill each other," and he wins my attention. This text examines "the psychology of possession". The author investigates our desire to possess from myriad angles, including religious and economic reasons, and presents numerous diverse examples of how the human penchant for possessing has led to crime, brutality, murder and war. At the end of this page-turner Kishchuk reveals that his original title idea was The Curse of Possessions. He could have called it Read This and Never Lose at "Jeopardy" Again!

Kishchuk's previous titles demonstrate his eclectic range of interests: Long Term Care in Saskatchewan, Saskatchewan Crown Corporations, and Connecting with Ukraine. Possessions is "more reflective in nature," and I greatly appreciate the way this author reflects and how he's organized his fascinating stories/examples. The breadth of information presented is humbling, from religious beliefs regarding possession to biographies of those who used what they possessed – ie: wealth, knowledge, generosity, or power - for good, ie: Mother Teresa, Bill Gates, and Alexander Fleming.

Chapter 2 considers "Greed and Possessions," with examples of both personal and corporate greed. Regarding the former, the author includes stories about Bernard Madoff and Imelda Marcos – see what I mean about range? – and corporate avarice is represented by the likes of Bre-X and Nortel. 

You know those news-makers and historical Canadian or international events that you feel you should know more about, but never take the time to research? I have several on my list, and reading Possessions has filled many of those gaps. In succinct, interesting, and easy-to-read stories – rather like sound-bytes - I learned (or-relearned) about everything from the Columbine High School shootings to ethnic cleansing and genocide in Cambodia.  

Chapters 5 and 6 are phenomenal: the Crusades … The Troubles … the Islamic State … the Roman Empire … the Vikings … the Mongol Invasion of Europe … the British Empire … World Wars … The Aga Khan … Jim Crow … Putin … Ghandi … Mandela … Louis Pasteur … Robbie Burns, etc. Who knew that the Viking era only lasted for 300 years (780-1080), or that at one time the British Empire occupied or controlled "over 90 of the world's 203 countries," or that during the Jim Crow era of racial segregation in the southern US, "it was understood that white motorists always had the right of way at street intersections"? Boris W. Kishchuk. That's who.  

Possessions is a concise, fast-paced education. I feel enlightened. Now if I could commit all this information to memory, Wally - my partner in life and opponent in TV "Jeopardy" - would never beat me in a game again.  

Wednesday, March 21, 2018

Four Book Reviews: Tim Lilburn, Edward Willett, Allan Kehler, Sara Williams and Bob Bors

“The House of Charlemagne”
by Tim Lilburn
Published by University of Regina Press
Review by Shelley A. Leedahl
$19.95  ISBN 978-0-88977-530-5

Years ago I lived a block from poet and essayist Tim Lilburn in Saskatoon's leafy City Park area, and it's been wonderful to watch his literary star rise. He's earned the Governor General's Award for Poetry, and is the first Canadian to win the European Medal of Poetry and Art. Like Lilburn, I also now live on Vancouver Island, and was excited to discover what my former nearly-neighbour has been (literarily) up to.

Not surprisingly, his latest title – a collaboration with Métis artist Ed Poitras - breaks new ground. Part poetry, part essay, part script, The House of Charlemagne is a brilliantly conceived and executed "performable poem," and an homage to Louis Riel's imagined "House of Charlemagne," named for the "polyglot Métis nation" Riel imagined rising centuries after his death. It was produced with male and female dancers by New Dance Horizons/Rouge-gorge in Regina (2015), and the book includes two black and white production photos.

The bizarre and poetic story unfolds via multiple voices and shapes, but the key player is Honoré Jaxon (aka William Henry Jackson), a University of Toronto-educated non-Métis and son of a Prince Albert shopkeeper. Jackson became Riel's final secretary, embraced the leader's metaphysical beliefs about "active essences," was sentenced to an insane asylum, and died old and living in a "small fort" made of empty ammunition boxes in New York, where he'd attempted to gather published material that celebrated the Métis. Lilburn takes these "bones" and, like an orthopedic surgeon, constructs a body that is political, intellectual, and philosophical, and it howls.

The books first part, Massinahican (Riel's text that "attempt[ed] to render old Rupert's Land …. into philosophy, interiority and politics") is an amalgam of history; quotations (in French) from Riel's work and from others, ie: Julian of Norwich and Plato; free verse poetry; and a description of the dance production. During the multi-art performance, Lilburn sat side-stage and symbolically "sent large sections of the poem skittering into the movement" while live music (by Jeff Bird of the Cowboy Junkies) and geese, wind, gunshot, and water sfx were played.

The second part is the three-act poetic performance script, including dialogue between Riel and Jaxson. The former says to the latter: "You and I are badger-mind/wasp-intuition". In the prison scene, a guard says: "You were Platonic fools we dismembered/to save you from the embarrassment your sky thought/would inevitably have brought you". In Act 3, when Jaxson maligns the fact that he's failed to gather the archives of "the Last Provisional Government at Batoche," he says of the blowing papers: "How strange this is the result/of such thousand horsepowered longing".           

Evidenced in the poetry: Lilburn's intrinsic sense of the natural world, an ear tuned to the song of the land, and multiple mentions of communities (Last Mountain Lake, Souris, Riding Mountain, etc.). Scents are featured, too, ie: "The damp, cool/blue smell of the Crowsnest Pass".      
Lilburn's latest looks at history through a different lens, and makes a sound like "the engine room of God's warm breath".


"Door into Faerie"
by Edward Willett
Published by Coteau Books
Review by Shelley A. Leedahl
$14.95  ISBN 978-1-55050-654-9

Door into Faerie is the fifth and final title in Regina writer Edward Willett's "The Shards of Excalibur" series, and I read it without reading its predecessors, and also, admittedly, with a bit of a bias against the fantasy genre. Magic shmagic. I've oft said that what I really value in literature is contemporary realism: stories I can connect with via details from the here and now, geography and language I can relate to because I recognize it, I speak it. The old "holding a mirror to the world" thing. Well surprise, surprise: I loved this YA fantasy. Willett wields his well-honed writing chops from page one, and my interest was maintained until the final word.

In the opening we learn that teens Wally Knight (heir to King Arthur) and his girlfriend Ariane ("the fricking Lady of the Lake"), have been on a global quest to "reunite the scattered shards of the great sword Excalibur," and they're currently at a Bed and Breakfast in Cypress Hills. Cypress Hills! This ingenious juxtaposition of old and contemporary (ie: "fricking"), of information delivered in earlier books melded with new goings-on, and the inclusion of relatable issues like family dysfunction - Knight's sister's teamed with the Jaguar car-driving sorcerer Merlin, aka "Rex Major, billionaire computer magnate," and she's "living it up" in a Toronto condo, and Wally has no idea where his film-making mother is – had me immediately hooked. Wally wants to find his mother and celebrate Mother's Day together.

I'm impressed with Willett's ability to draw readers into the complex existing story, and can appreciate the authorial balancing act required in structuring this novel. The man knows how to write; he has, in fact, written over fifty books, and won the 2009 Prix Aurora Award.

And I'm learning that hey, I actually do like fantasy: it's fun to imagine "magic," ie: Ariane has the power to "transport them around the world via fresh water and clouds".  

The book's delightfully saturated with humour, as well as magic. Re: Ariane's magical prowess, "the whole dissolving-into-water-and materializing-somewhere else thing still freaked [Wally] out". And re: the family angle, at one point Ariane says, "Magical quests are easy; family is hard".

While the young pair search for the famous sword's hilt, they land in places ranging from a Weyburn swimming pool to a "dime-a-dozen" Scottish castle and the shoreline of Regina's Wascana Lake. 

There's romance too: Ariane notices that Wally's ears "even seemed to fit his head better than they used to". And broken romance: Wally's mom delivers a monologue re: her own marriage break-up, complete with the "blonde bimbo" who replaced her. There's a long history of inter-marrying and bloodshed here.

The story's told through different perspectives. Merlin maligns the fact that King Arthur had been reduced even beyond legend "to a fit subject for musical theatre". Hilarious.

I can't imagine teens not enjoying this entertaining story, perhaps especially if they've read the books that've preceded it. This adult enjoyed it, too … magic and all.    
 “Born Resilient: True Stories of Life's Greatest Challenges”

by Allan Kehler
Published by Your Nickel’s Worth Publishing
Review by Shelley A. Leedahl
$17.95  ISBN 978-1-988783-02-4

Born Resilient: True Stories of Life's Greatest Challenges is the third book I've reviewed by Saskatoon writer, counsellor, and motivational speaker Allan Kehler, and it's my favourite. In this non-fiction book about suffering, hope, and resilience, Kehler introduces each chapter then allows some of the people he's met on his own journey to take the stage. We hear from men and women who've each hit rock bottom in some way, and learn how, in their own words, they climbed out of their individual valleys. Perhaps nothing's more powerful than candid personal testimonies. In sharing theirs, the writers lend others hope that they, too, can turn their lives around.  

The book opens with a foreward from an ex-NHL goalie who, like the author, confesses that he's "seen the dark side" (addiction, mental illness) and has "risen above". In his usual clear writing style, Kehler explains that his motivation for writing this book came from a young woman who'd suffered an abusive childhood. She silently revealed the scars on her forearms, and Kehler's response was "Scars are a sign of survival. You are clearly a fighter … and you have my utmost respect." An inspired response, and the girl left the meeting with "her head held high".

It's Kehler's belief that "nothing is more sacred than having someone share their story with you". Readers may or may not personally relate to the hardships contributors relay – from debilitating accidents and illness to abuse of all kinds – but they'll no doubt applaud the courage demonstrated here, and learn how even when one's life is truly a living hell, there is hope.

In Chapter One Kehler advises that people pay attention to their emotional pain, which he says has more impact on lives than physical pain. He directs readers to acknowledge emotional pain, "sit" with it, and "identify its source," for if "toxic emotions" aren't released, the sufferer may turn to unhealthy behaviours like abusing drugs, problem gambling, or sex addiction. Having a spiritual connection greatly helps.

Sometimes it takes a book like this to realize how some people survive the near-impossible every day, like the woman who was sexually abused as a toddler and began drinking at age six. She writes: "Without drugs or alcohol, I was unable to live in my own skin," and today she's a mental health and addictions counsellor. We meet a man who lost his three beloved children in a car accident: he describes undealt-with emotional pain as a sliver that, left untreated, gets infected. One woman writes of being gang-raped at age 14, another was brought up in a cult, and we hear from the mother of a fentanyl addict who admits that resilience also includes "having the courage to know when to hang on and when to let go".

And imagine being the woman who wrote: "On November 25, 1990, my ex-husband, Tom, shot and murdered my sons as they slept". Resilience.

We all know someone who'd benefit from reading this sincere book. I'm glad it's available.     

 "Growing Fruit in Northern Gardens"
by Sara Williams and Bob Bors
Published by Coteau Books
Review by Shelley A. Leedahl
$39.95  ISBN 9-781550-509137

For those who desire to grow fruit in their own northern gardens, the comprehensive and visually-inviting new reference book by horticultural experts Sara Williams and Bob Bors would be the logical place to begin. This learned duo – Williams has penned numerous books on prairie gardening and leads workshops on diverse gardening topics; Bors is the Head of the Fruit Breeding Program and an Assistant Professor in the Department of Plant Sciences at the University of Saskatchewan (he's also globally-known for his work with haskaps, dwarf sour cherries, and Under-the Sea® coleus). These Saskatchewanians possess a plethora of knowledge and experience, and they share it, along with up-to-date research, in Growing Fruit in Northern Gardens: a veritable encyclopedia (but far more fun) that instructs gardeners on everything from the basics - like soil preparation and pruning - to specifics on how to grow and maintain healthy tree, shrub cane, groundcover, and vine fruits, and make the most of your hazelnuts.    

Aside from the wealth of information on more than 20 species and over 170 fruit varieties, this glossy-covered book is a joy to behold, with a proliferation of colour photographs (especially helpful when diagnosing plant disease and identifying insects), interesting sidebars, thoughtful organization, and easy-to-read text.

The first key to fruit-growing-in-northern-climes game is hardiness. Winters in Zones 1 to 4 are often long and cold, so winter survival's critical. The authors explain that growing at northern latitudes also provides some benefits, ie: "fewer disease and insect problems" and "better colour and sweetness". There are also more antioxidants within northern grown fruits. "What might be considered a superfood grown elsewhere becomes a super-duper food when grown in the north!". The advantages of growing your own fruit include enjoying just-off-the-vine freshness, the meditative state one might experience while pruning ("both a science and an art" … think Buddhist monks and bonsai), and improving yard aesthetics. 

Readers learn about insect vs. wind pollination, that most fruit does best with "full sun for at least half the day," and mulch must be at least 10 cm (4 in.) to be effective. I appreciated the numerous "fun facts," ie: how many of what we now consider weeds were "Old World plants that were deliberately introduced to the new World by immigrants for their culinary or medicinal value," and Canada Thistle is not Canadian: it's from Eurasia, as are dandelions, which were "once used as a coffee substitute". One of my major adversaries – portulaca (aka purslane) – was at one time "eaten as a vegetable".   

I found the photos – like the root development images – instructive, and the authors' personal anecdotes (ie: Williams' battle with deer) add a human touch. A large section's devoted to apples, which are from the rose family. Apples once held top spot re: Canada's most important fruit, but that changed in the 1990s when blueberries were christened a "superfruit".

I was going to gift this book after reviewing it, but even living in Zone 7b/8a, I find it highly relevant: it's staying with me.       


Monday, January 22, 2018

Four Book Reviews: Antigone Undone: Juliette Binoche, Anne Carson, Ivo van Hove and The Art of Resistance; My Health in Hand (Healthcare Organizer); Behind the Moon; and To Trust Again: Finding Hope After Loss

“Antigone Undone: Juliette Binoche, Anne Carson, Ivo van Hove and the Art of Resistance”
by Will Aitken
Published by University of Regina Press
Review by Shelley A. Leedahl
$24.95  ISBN 9-780889-775213

Great art can pick you up by the heels and shake the daylights out of you, and that's what happened to novelist, travel journalist and film critic Will Aitken after he was invited to Luxembourg by Canadian literary phenom Anne Carson to sit in on rehearsals for (and the premier of) Sophokles's tragic Greek play, Antigone, which Carson'd translated. The experience undid Montreal's Aitken, and in his book Antigone Undone, he unpacks this "ambush" and explores why the 2500-year-old play's been profoundly affecting audiences since first produced.

Antigone Undone packs quite a punch itself. The hardcover's organized into three distinct parts, and Aitken's sassy style, subject knowledge and humanity illuminate each page. Antigone concerns an unhappy family (naturally). The title character's a teen princess who insists that her battle-killed brother be buried, but her uncle, the king, insists he was a traitor and "his body must rot in the sun for all to see". When Antigone - played by my favourite, Juliette Binoche – throws dirt on the body, Kreon walls her in a tomb. But Antigone's no doormat: she doesn't go down without a roar.

There's a whack of gender politics happening here, and it's easy to find parallels between the princess's struggles and what's centre stage in the world today (#MeToo). Of the play's immediacy, Aitken says "Antigone opened my eyes to the constancy of human suffering and said to me, 'Nothing changes, nothing ever will'". Thus, he spiraled.

The book's first section, in diary form, gives us a ringside seat to the rehearsals, plus insights into the book's living cast: the play's director (Ivo van Hove), Binoche, Carson (and husband Robert Currie) and Aitken. The section includes zippy candid emails between the author and Carson, his longtime friend. The latter writes "Currie loves Sondheim. it's pretty fun although sondheim's songs all sound the same to me and Meryl Streep's teeth are depressing." In short, this isn't small talk, folks. These intellectuals use words like "belvedere," "tenebrous," and "humis;" hobnob with Juliette Binoche; and use "Feist," "Strauss," and "Judy Garland singing 'The Man That Got Away'" in the same sentence.

But the suffering author also keeps it real, ie: after observing one rehearsal: "I find myself thinking how little I know about acting, despite having watched and written about it for much of my life." He considers Binoche's acting prowess: "I see a fearless woman on a ledge high above the sea, ready to hurl herself into the void, again and again if necessary".

In Part II Aitken juxtaposes interviews with Binoche, Carson and van Hove re: their collaboration, and the final section's more academic, with Aitken examining other writers' (ie: Woolf, Kierkegaard, Hegel) responses to Antigone.      

Aitken's real-world drama makes this book sing, especially the frank writing about his haunting post-Antigone time in Amsterdam, and his return to Canada, when "suicidal ideation arrive[d] like a hearse pulled up on the living room rug". Curtains rise and curtains fall, but the action on stage over centuries seemingly changes little.



"My Health in Hand" (Healthcare Organizer)"
by Debbie Cancade-Schmidt, Shauna Baumann, and Sheila Warner-Johanson
Published by Your Nickel’s Worth Publishing
Review by Shelley A. Leedahl
$24.95  ISBN 9-781927-756812

Do you envy those who seem ultra-organized? They can find whatever they need immediately, because they've taken the time to establish a system. We all know how easy it is to lose track of important information – you know, appointments scribbled on scraps of paper, or receipts from the drugstore. Wouldn't it be great to have one handy place to store all this critical healthcare material? I believe it would, and thus I'm pleased to hold in my hands my brand new system: My Health in Hand, a practical and user-friendly healthcare organizer.  

The trio of women who thought up the idea for My Health In Hand, a sturdy, coil-bound record-keeping book that would fit in a purse or glove compartment, must have had quite the brainstorming sessions, for they seem to have considered everything one needs to manage healthcare details. Users begin by completing the "My Profile" pages, with spaces for critical details like hospitalization number, next of kin, and your doctor's phone number. Beyond the usual information, the authors provide useful tips, ie: "It may be helpful to note down your license plate number for emergency parking." Yes, for those of us who can't recall this number when needed, that's an excellent, time-saving tip! There's even a spot in which to record piercings: evidence that the creators are contemporary-minded.

The next two sections are dedicated to an individual's comprehensive medical and family histories, with pages of space to record surgeries, hospitalizations, and immunizations/vaccines. This may be particularly useful when one needs to update travel vaccinations. There's room for providing the health history of one's parents and up to six family members - information which could be invaluable re: genetic conditions.      

With My Health in Hand you can quickly and easily record your medication details, keep track of appointments with specialists, and even include your advanced care plan ("living wills, medical power of attorney, healthcare proxy, and do not resuscitate orders") in the back-page envelope. Documenting end-of-life wishes in your all-inclusive heathcare organizer makes wise sense.    
This 96-page publication, produced by Your Nickel's Worth Publishing (and with the support of Creative Saskatchewan), is also a visual pleasure, and its designed to "stand up" to frequent use. The attractive front cover image – a robust woman leaping on a beach with the ocean and an expansive blue sky behind her – is on thick, glossy paper that neatly folds over and hides the sturdy coils that bind the pages.

We're an aging society, and while it's easy to dismiss conversations about end-of-life choices due to emotional discomfort, these are important discussions we need to have with our families. This booklet would make a thoughtful gift for aging parents, and a side benefit would be time spent with family members while helping fill their information out.

Debbie Cancade-Schmidt, Shauna Baumann, and Sheila Warner-Johanson, thank you. Owning My Health in Hand ensures that even the most disorganized among us have at least one integral part of our lives – our comprehensive healthcare information – at easy reach.   

 "Behind the Moon"
Written and Illustrated by Elsie Archer
Published by YNWP
Review by Shelley A. Leedahl
$14.95  ISBN 9-781988-783079

I'm highly impressed when a creator can effectively write and illustrate his or her books, thus my metaphorical hat is tipped to Elsie Archer, author and illustrator of Behind the Moon, an inspirational children's picture book that delivers the autobiographical story of two sisters – Marjorie and Elsie - who were children during the terrifying time we know as the Second World War.

An illustrated book only truly succeeds when both text and images are on par. The story must also convey original ideas. I'll begin with Archer's imaginative writing. Hand in hand, the sisters stand beneath the night sky and the elder sister, Marjorie, explains to Elsie that the moon is "the door to heaven," and the stars "are actually holes that God poked through the sky with His fingers". A few days later, during the full moon, Elsie exclaims that the "door to heaven is wide open". As only a child might, Elsie thinks this is wonderful because now "the angels can go back and forth without getting squished!"

The sisters demonstrate a strong faith in God. They also exude a credible, spiritual innocence. Their quests to find a way to travel to heaven (Marjorie throws a rope down from the hayloft to "pull [Elsie] up into heaven") are realistically juxtaposed beside a game of Hide and Seek. 

Now, the illustrations: these are not images to skim over, for the more one studies them the more she sees, which increases the story's impact. The northern lights, for example, are not just multi-colour swatches in the sky, they actually appear – unobtrusively – as angel shapes. A few symbolic details clearly place this story in time: a period radio sits on a table with spindled legs, and coal oil lamps brighten rooms. In my favourite page, a Raggedy Ann doll sits on a trunk beside the girls' bed, which features a homemade quilt and a metal headboard typical of the era. The sisters are on their knees in prayer beside the bed, Marjorie's love and protection evident in the arm she has slung around her sister.
Again, Archer's excellent notion of a child's thoughts are evident in the text. After saying her own prayer – "We know that we can't get to heaven all by ourselves. We were only pretending. Amen." - Marjorie "poked" Elsie to say her own prayer. The younger girl says "You are always with us, and we don't have to be afraid of bombs or anything …"

The book includes a page of actual family photos, and a brief author bio: we learn that Archer was born in Didsbury, Alberta, worked as a nurse, and now runs EMA Designs, an art studio and classroom in Didsbury.

Everything's working for Behind the Moon: original ideas, authentic voices, and glorious art. How marvelous to be able to share one's gifts and passion – "art through teaching" – in this "star" of a book. To learn more about this talented Albertan, see

My hat's more than just tipped for Archer, it's completely off.    

“To Trust Again: Finding Hope After Loss”
Text and Illustration by Colleen Kehler
Published by Your Nickel’s Worth Publishing
Review by Shelley A. Leedahl
$14.95  ISBN 9-781988-783062

It's amazing, really, how many folks - upon learning that I'm a writer - assert that they have a great idea for a book they are going to write … someday. I know most of these books are never written, but they could be. And they could be published, too. Companies like Your Nickel's Worth Publishing, in Regina, are turning the dream of publishing one's own stories, whether fiction or nonfiction, into reality for scores of writers.

YNWP is a quality "hybrid" publisher. Its website explains that it offers: "an inexpensive means for storytellers to publish their works, producing books with a prairie flavour—either in creative source (author/illustrator) or in subject matter". Established in 1998 by Heather Nickel, YNWP provides editing and production services for creators "whose stories might otherwise not be told". Thanks to YNWP, scores of professionally produced books have now found their way into the world to delight and illuminate readers. 

Saskatoon's Colleen Kehler's an ideal example of one who's recognized the value of publishing with YNWP. The writer/artist is a longtime educator who now uses her art and experience to inspire others via her stories - like the recently published To Trust Again: Finding Hope After Loss - and motivational presentations.

Kehler's encouraging and beautifully-illustrated book tells the tale of a girl who's plagued by pain, shame and "crippling fears". During an autumn walk she meets a fascinating bird who gives her a box that contains the letters T R U S T, which spell "a word she no longer believed in". She doesn't want the gift, as she's convinced herself that life will never improve. The wise bird explains that it understands, and ensures the girl that "a divine power … lives deep within [her]".

Seasons turn across the pages, and we witness the girl's climb from a place of darkness and self-doubt to one of acceptance, thanks to her new companion, the bird, who shares "warmth, empathy, and deep compassion". Now "Life was good. Life was enjoyable". But winter arrives, and with it "a routine test" and "news no one wants to hear" - the girl's heart breaks open. How can she trust now? I advise reading this story - which some may view as a spiritual parable - to learn the answer.

There's a powerful message conveyed here, and it's eminently enriched by original and thoughtful art. Kehler takes chances, ie: her protagonist, never named beyond "The girl," is featured throughout as a faceless black figure, almost like a shadow, but there's a vibrant energy to every page, thanks to the author/artist's brilliant command of design via colour, variety, and scale. At she explains how her art journal – "I use mixed media such as stencils, stamps, ink, paint, paper collage and loads of glue" – transformed into To Trust Again.

Need motivation to tell your own story? Start here. Kehler's book is commendable for its art, its positive and well-told message, and its high production value. It's a superlative example of how you, too, can make your  book dreams come true.