Journal articles on the topic 'Adventure stories (Children's/YA)'

“The All-White world of children’s books” (Larrick, 1965) is still mainly White and heavily skewed in one direction. Black children are either entirely absent from the books or misrepresented in the stories. Although there has been a notable increase in publishing African American books over the past several years, “characters of color are [often] limited to the townships of occasional historical books that concern themselves with the legacies of civil rights and slavery” (Myers, 2014). These characters “are never given a pass card to traverse the lands of adventure, curiosity, imagination or personal growth” (Myers, 2014). With a focus on African American Young Adult books, in this paper, we show how Natural Language Processing (NLP) and sentiment analysis can be used as alternate tools to identify emotional patterns in diverse YA novels. We follow the approach for emotion analysis suggested by Mohammad (2012) and use manually created lexicons that contain Plutchik’s eight basic emotions. Also, we measure how the use of the emotion words changes through the course of our selected books and demonstrate the flow of the basic eight emotions as well as the sentiment associated with the emotion words in the sample books.

Adventure fiction set in Latin America remains a largely unexplored territory in children's literature studies. This article examines a group of 21st century young adult novels set in this region and considers the ways in which readers are positioned in relation to the Latin American image repertoire derived from colonial discourse about landscape, culture and inhabitants (Pre-Hispanic civilisations as well as contemporary indigenous and mestizo peoples). It also looks at the juxtaposition of advanced technology and traditional indigenous practices represented in the texts. It argues that despite the persistence of some stereotypes from boys’ popular adventure fiction, the protagonists’ rite of passage experiences in the ‘contact zone’ transform their understanding of the ‘Other,’ leading to a greater social and environmental awareness as well as a questioning of their own values and identity.

The Catalan children's author Josep Vallverdú published two crossover stories based on Robinson Crusoe and Treasure Island. Les raons de Divendres (Friday's Reasons) (2003) gives an account of the episode of Crusoe and Friday told from the point of view of the servant, whereas El testament de John Silver (John Silver's Will) (2007) deals with the adventures of the pirate after searching for the treasure in the Caribbean. This paper demonstrates how Vallverdú uses his experience as a writer and translator to transform two canonical novels, through transposition into a contemporary context, in a way that facilitates an interaction between Catalan literature and English literature. In keeping with this exploration of literary tradition, the two sequels are also analysed as twenty-first century expressions of a Western literary tradition that abounds in adventure stories set at sea.

ABSTRACT Nowadays today’s era, children generally prefer to technological tools rather than reading a book, and parents rarely decide how their children use technology to support reading development. However, you can choose to use technological means to encourage the development of the reading habits. Therefore, the general objective is to create an online platform to encourage reading children's stories since reading is a fundamental skill to achieve academic success. A quantitative method of main component analysis was applied, using the platform weblogs, questionnaires, and data collection according to the proposed activities' interactions with navigation records of 515 children between the age of five and nine years. The results show that short stories can reinforce reading comprehension and students' interest in reading. Also, the use of platforms can be a good option, if it has good content, age-appropriate aesthetics, and activities that attract users' attention. KEYWORDS: Media; technology; reading; books; platforms. Los factores de la lectura infantil en un curso online RESUMEN En la era actual, los niños generalmente prefieren usar herramientas tecnológicas en lugar de leer un libro, y los padres rara vez deciden cómo sus hijos usan la tecnología para apoyar el desarrollo de la lectura. Sin embargo, puede optar por utilizar medios tecnológicos para fomentar el desarrollo de los hábitos de lectura. Por tanto, el objetivo general es crear una plataforma online para incentivar la lectura de cuentos infantiles ya que la lectura es una habilidad fundamental para lograr el éxito académico. Se aplicó un método cuantitativo de análisis de componentes principales, utilizando la plataforma weblogs, cuestionarios y recolección de datos de acuerdo con las interacciones de las actividades propuestas con los registros de navegación de 515 niños de entre cinco y nueve años. Los resultados muestran que los cuentos pueden reforzar la comprensión lectora y el interés de los estudiantes por la lectura. Además, el uso de plataformas puede ser una buena opción, siempre que cuente con buen contenido, estética adecuada a la edad y actividades que atraigan la atención de los usuarios. PALABRAS CLAVE: Medios; tecnología; lectura; libros; plataformas.

Background. The article discusses psychology of teenagers and elders in detective novels which is considered to be more complicated. Although the society and the social environment change and renew the way of thinking, the changes in the world of childhood and adolescence, like the laws of nature, are constantly changing. Adolescence is a period that is complicated by the transition of a person to the stage of childhood and maturity. Methods. It is important that every teenager at this age pays more attention to the heroes of books and movies, learns from them. Consequently, the task of fiction for teenagers is also very responsible and multifaceted. Among the works of world literature such as J. Verne's "Children of Captain Grant", "Five Weeks in a Balloon", "Mysterious Island", D. Defoe's "Robinson Crusoe", J. Swift's "Gulliver's Travels", Uzbek children's fiction and detective prose, for example The works of H. Shaykhov, T. Malik, O. Mukhtor, H. Tukhtaboyev, as well as the didactic stories of T. Malik, E. Malik play an important role in enriching the spiritual needs of adolescents in this area. Results.

Since the education explosion in mid-nineteenth century England, when astute publishers began to capitalise upon a newly created and burgeoning market, Australia has always featured prominently in fiction aimed at children and adolescents. Those British children who initially made up the bulk of the reading audience for books set in Australia were eager to read episodic stories set in exciting countries far from home, and an Australian setting offered a glamorous backdrop for tales of high adventure. Moreover, it appears that while the nineteenth-century British reading public perceived Australia as an exotic place, then Queensland was quintessentially so. A disproportionate number of early tales about life in Australia is set in this colony, most often in the outback regions, but also in the vicinity of the coastal tropics. Nineteenth-century Queensland was viewed by the British, as well as by many Australians, as a remote outpost of Great Britain; it was commonly thought of as the least urbanised, the least “civilised”, the least industrialised and perhaps the most remote of all the regions of Australia. It was widely seen as an area of great and diverse (if also mysterious and desolate) natural beauty, of rural innocence as yet unpolluted by dark, satanic mills (even Brisbane was a sleepy, sprawling country town in picturesque contrast to the bustling southern cities of Sydney and Melbourne). Children's novelists capitalised on the mystique of Queensland, archetypal frontier colony, by creating a cluster of tales showing what it was like to be a Queensland kid.

La capacitación del hombre para la solución de problemas es un tema muy discutido en el mundo, pues se considera una actividad de gran importancia en la enseñanza. Esta caracteriza una de las conductas más inteligentes del hombre, ya que la vida misma obliga a resolver problemas continuamente. La práctica diaria nos muestra que no todos los niños saben resolver problemas sencillos, si bien se trabajan contenidos referente a esta temática se carece de alternativas y recursos didácticos de cómo llevarlos a pensar, razonar y qué vías utilizar para llegar al resultado. Ocuparse de cómo razonan los niños pudiera ser una de las posibilidades de comprender y organizar de forma racional y efectiva el proceso de enseñanza de la matemática y en particular la solución de problemas. Desde un enfoque de investigación cualitativa, el presente estudio plantea el aporte de la Literatura Infantil en la solución de problemas matemáticos sencillos en las primeras edades, basado en una revisión teórica que responde a las potencialidades de los cuentos infantiles como recursos didácticos en la adquisición de destrezas y habilidades. PALABRAS CLAVE: Literatura Infantil; solución, problemas; matemática; cuentos infantiles. CHILDREN'S LITERATURE AND ITS CONTRIBUTION TO THE SOLUTION OF SIMPLE MATHEMATICAL PROBLEMS IN THE FIRST AGES ABSTRACT The training of man to solve problems is a subject that is much discussed in the world, because it is considered an activity of great importance in education. This characterizes one of the most intelligent behaviors of man, since life itself forces us to solve problems continuously. Daily practice shows that not all of our children know how to solve simple problems, although content related to this topic is worked on, there are no alternatives and teaching resources on how to take them to think, reason and what routes to use to reach the result. Dealing with how children reason could be one of the possibilities to understand and organize in a rational and effective way the teaching process of mathematics and in particular the solution of problems. From a qualitative research approach, the present study raises the contribution of Children's Literature in the solution of simple mathematical problems in the first ages, based on a theoretical review that responds to the potential of children's stories as teaching resources in the acquisition of skills and abilities. KEYWORDS: Children's literature; solution, problems; mathematics; children's stories.

Changes in the implementation of learning by combining online and offline models during the new adaptation period require a new strategy for kindergarten institutions. The impact of change requires teachers to carry out effective and fun learning strategies in stimulating all aspects of early childhood development. This study was conducted to analyse the strategies that have been carried out by kindergarten teachers to stimulate the cognitive development of early childhood in the new adaptation period. This type of research uses a qualitative descriptive method with a case study approach. Sources of data in the form of documents (learning, photos, and videos) and credible sources. Qualitative data was collected through observation, documentation and in-depth interviews. The analysis was carried out inductively, continuously until the final findings of meaningful research were found. The results showed that the teacher's strategy stimulated early childhood cognitive development by; 1) presenting interesting themes and activities that are packaged in the form of stories (one of which is child adventure), 2) using a scientific approach and playing, involving family members, prioritizing learning resources for school and local wisdom based on projects at home, 3) using procedures and effective methods, 4) the application of norms for the success of children's achievements through process and outcome. The conclusion shows that the teacher's strategy in stimulating cognitive development is by preparing a clear plan of learning objectives and activity programs, implementing adaptive, effective and collaborative learning, normative evaluation and counselling guidance services.

The article analyzed the works of scientists (Avtomonova P. P., Boyko Y. V., and Zaichenko I. V., Zenkin A. S., Karandasheva V. N., Kirdyaeva V. M., Kuzmenko N. M., Lasch A P., Lvov I. P., Pylhaeva F. P,. Pogrebna Ya. A., Czerniawska A. P.), who developed methods of optimal study book, textbook and other paper media. Types of independent work with the coursebook, additional materials are necessary to have when studying or reading books and other manuals. Selected types of readers (based on lectures “Students' independent work with the book” by I. P. Lvov), the preferences of readers on the nature of the literature and recommendations for its choice. It is substantiated that, according to I. P. Lvov, the book plays an important role in the development of thinking and speech culture of students. The Ukrainian teacher singled out four groups of students. Representatives of the first group are only interested in the reading process. To the second group of readers I. P. Lvov included people who like to read adventure literature and detective stories. The third group consisted of readers who are interested in serious, scientific literature, new books of modern bookstores. To the fourth type of readers, the scientist referred those who seek knowledge and therefore makes serious demands on the book. It is proved that the Ukrainian teacher emphasized that the effectiveness of reading books is possible if the reader has a system of knowledge in a particular field, has the skills of good orientation in the text with the selection of basic principles and ideas. The result of mental work should be clearly designed in the form of writing or speaking, and the effectiveness of the process of working with the book depends not only on speed but also on the method of reading.

The article is devoted to the work of the famous modern children's writer, whose works have repeatedly won prestigious literary competitions, including the All-Russian Kniguru Competition (2013, 2014, 2015), the International Children's Literary Prize named after V. Krapivin (2013, 2014), the New Children's Book Competition (2014), the Literary Prize named after. S. Ya. Marshaka (2018) and others. The relevance of this study is due to the lack of theoretical works devoted to the analysis of Nina Dashevskaya's works published over the past decade. The purpose of the work is to study the integral system of the author's texts, which has certain characteristics. The object of research are collections of short stories "About Music" (2015), "The Second" (2018), "The Key" (2022), the novels "The Violin of an unknown master" (2015), "I am not a brake" (2016), "The Day of Pi" (2018), "Timofey: notebook; Irka: Sketchbook" (2020), "Sound Search. Cottage cheese" (2021). As a result, it is concluded that the author's characters are modern teenagers, original, enthusiastic, talented, they are looking for their own way, learning to communicate, make decisions, interact with other people. The author raises the problems of social isolation, lack of friends and relationships between brothers and sisters. The paper analyzes the values of the author's artistic world, the dominant artistic space, and the peculiarities of the plot structure of the works. Musicality and its realization in texts are considered as a fundamental feature of Dashevskaya's prose. The works demonstrate an educational aspect and a serious cognitive orientation of short stories and novellas, which is realized in information from the field of music, painting and literature. This work represents a stage in the study of modern literature for children and the work of Nina Dashevskaya, in particular, and opens up prospects for further research. Статья посвящена творчеству известного современного детского писателя, чьи произведения не раз становились победителями престижных литературных конкурсов, среди которых Всероссийский конкурс «Книгуру» (2013, 2014, 2015), Международная детская литературная премия имени. В. Крапивина (2013, 2014), конкурс «Новая детская книга» (2014), Литературная премия им. С. Я. Маршака (2018) и другие. Актуальность настоящего исследования обусловлена недостатком теоретических работ, посвященных анализу произведений Нины Дашевской, опубликованных в течение последнего десятилетия. Целью работы является изучение целостной системы текстов автора, обладающей определенными характеристиками. Объектом изысканий становятся сборники рассказов «Около музыки» (2015), «Второй» (2018), «Ключ» (2022), повестей «Скрипка неизвестного мастера» (2015), «Я не тормоз» (2016), «День числа Пи» (2018), «Тимофей: блокнот; Ирка: скетчбук» (2020), «Поиск звука. Творогов» (2021). В результате сделан вывод о том, что герои автора – современные подростки, самобытные, увлеченные, талантливые, они ищут свой путь, учатся общаться, принимать решения, взаимодействовать с другими людьми. Автор поднимает проблемы социальной изолированности, отсутствия друзей и взаимоотношений между братьями и сестрами. В работе проанализированы ценности художественного мира автора, доминанты художественного пространства, особенности сюжетного построения произведений. Рассматривается музыкальность и ее реализация в текстах как основополагающая черта прозы Дашевской. Произведения демонстрируют воспитательный аспект и серьезную познавательную направленность рассказов и повестей, которая реализуется в сведениях из области музыки, живописи и литературы. Настоящая работа представляет собой этап в изучении современной литературы для детей и творчества Нины Дашевской, в частности, и открывает перспективы для дальнейших исследований.

The article examines the concept of catastrophe as an art theme, which is extremely relevant in our time and is also marked by the entropy features. We can confirm that this phenomenon grows and affects many spheres of human life, both external (global, social) and internal (psychological). The author of the article focuses on how modern dystopia reflects an awareness of a catastrophe, which is happening or has already happened. We have analyzed two novels from this point of view: “Masha, or the Fourth Reich” by the French writer of Ukrainian origin Yaroslav Melnyk and “Never Let me Go” by the English writer of Japanese origin Kazuo Ishiguro. The article emphasizes that the dystopias of our time correct classical dystopia attitudes, because they tend to the diffusion of new genres, acquiring the features of a parable novel, a myth novel, an alternative history fiction, and a philosophical novel. We have also noted the controversial nature of new formations, which combine signs of utopia and dystopia. Regarding the ideological and thematic component, the author of the article states that Ya. Melnyk and K. Ishiguro focus on the traditional problems of humanism and the relationship between “man and society” and on individual’s catastrophic depopulation issues in the conditions of nowadays turbulent challenges. The purpose of the article is to study the specificity of catastrophism artistic embodiment in the novels “Masha, or the Fourth Reich” by Yaroslav Melnyk and “ Never Let me Go ” by Kazuo Ishiguro and its functions in the structure of the dystopia genre. To achieve this goal we used historical-literary, cultural-historical and hermeneutic research methods. It was determined that the catastrophism motif realization in the dystopia genre contributes to searching for new experimental forms, activates the processes of transformation and diffusion in the genre creation field, paradoxically and organically combines classic and modern elements of dystopia, renewing the poetics of the genre. Conclusion. Kazuo Ishiguro’s novel “Never Let me Go” demonstrates a powerful example of genre synthesis: “stream of consciousness” coexists with the classic English estate novel, which is emphasized by confessional and allegorical intonations and does not prevent the writer from resorting to some possibilities of a detective story. Features of the traditional parable form and mythological genre are also observed. Fantastic elements are interspersed with realistic ones. But allegorical, mythological, fantastic, and realistic features organically coexist in the novel, reinforcing the author’s main ideas. Yaroslav Melnyk in his novel “Masha, or the Fourth Reich” successfully synthesizes an alternative history novel, an adventure novel and a classic philosophical novel. Here conflicting utopia and dystopia also organically coexist, reinforcing each other. A dystopia genre structure becomes open and acquires unlimited hybridization, losing its classical features and even postmodern boundaries. Thus, the catastrophic reality of the 21st century promotes the search for new experimental forms, activates unpredictable processes in the genre creation field, and paradoxically and organically combines classical and modern elements of literary art. Once again, modern dystopian literature shows that “common issue” as a social slogan cannot satisfy individual human needs. The problem of egocentrism with the insufficient development of the political machine is becoming more and more acute. As a general phenomenon, consumer society does not justify itself and makes the lives of its sons doomed. Unfortunately, the heroes of modern dystopias less and less often choose to fight and more often to humble themselves or flee, which is the main difference from their classical predecessors. The prospects of further work are to deepen the understanding of the causes of stylistic and substantive differences in dystopias, the influence of socio-cultural reality on modern dystopias genre synthesis, the differences in the methods of utopian representation and artistic means of enhancing catastrophization within stories framework.

Resumo Práticas que visem a um ensino-aprendizagem mais dinâmico e significativo têm sido foco de interesse de pesquisas dentro da área de educação. Fazer com que os estudantes sejam mais participativos no processo de aprendizagem e ajudá-los a ter autonomia na busca por informações têm sido um desafio para os educadores. A teoria da Aprendizagem Significativa, proposta por Ausubel (1963), explica que novos conhecimentos são incorporados e melhor aprendidos quando relacionados a conhecimentos prévios já compreendidos pelo sujeito. Na educação, essa metodologia permite ressignificar e reorganizar ideias, criando novas conexões cognitivas. Dessa forma, o presente trabalho tem como objetivo apresentar uma prática de ensino-aprendizagem baseada na teoria da Aprendizagem Significativa por meio da elaboração de livretos de contos infantis. Uma turma do 1º ano do Ensino Médio foi escolhida para participar da prática que teve como ponto de partida a elaboração de Mapas Conceituais (organizadores prévios) e aplicação de um pré-questionário. Os estudantes foram orientados sobre onde e como fazer uma busca por informações pela internet, uma vez que esse meio de pesquisa é tão usado e importante, porém pouco explorado em sala de aula. A construção do livreto de contos sobre um tópico de Ciências da Natureza foi o produto final do trabalho. Após a atividade, foi realizada a aplicação de um pós-questionário para tornar viável uma análise mais adequada das possíveis aprendizagens dos estudantes. A comparação dos questionários e análise dos materiais produzidos mostraram ideias mais ricas, claras e interrelacionadas, corroborando a hipótese do estudo. O trabalho evidenciou uma ligação entre o múltiplo espaço da internet e a produção física de material (livreto), que se mostrou eficiente para a compreensão e síntese de conteúdos ligados as Ciências da Natureza. Palavras-chave: Ausubel; ensino-aprendizagem; livreto; mapas conceituais; metodologia. Abstract Science for minors: writing children's booklets as a practice for Meaningful Learning in Science Education Practices that aimed more dynamic and meaningful teaching-learning have been the focus of interest within the area of Education. Making students participatory in the learning process and helping them to have autonomy in the search for information has been a challenge for educators. The Theory of Meaningful Learning, proposed by Ausubel, brings that new knowledge are incorporated and better learned when related to previous knowledge already understood by the subject. In education, this methodology makes it possible to reframe and reorganize ideas, creating new cognitive connections. Thus, the present work aims to present a teaching-learning practice based on the Theory of Meaningful Learning through the development of children's booklet. A class from the 1st year of high school was chosen to participate in the practice that started with the elaboration of Concept Maps (previous organizers) and application of a Pre-questionnaire. The students were instructed on where and how to search for information on the internet, since this means of research is so used and important, but little worked in the classroom. The construction of the booklet of short stories on a topic in Natural Sciences was the final product of the work. After the activity, a Post-questionnaire was applied to make a more adequate analysis of the students' learnings. This study evidenced a connection between the multiple space on the internet and the physical production of material (booklet), which proved to be efficient for the understanding and synthesis of contents related to the Natural Sciences. The comparison of the questionnaires and analysis of the materials produced showed richer, clearer and more interrelated ideas, corroborating the study's hypothesis. Keywords: Ausubel; booklet; concept maps; methodology; teaching-learning. Resumen Ciencia para menores: elaboración de cuentos para niños como práctica para un aprendizaje significativo en la enseñanza de las ciencias Las prácticas dirigidas a una enseñanza y un aprendizaje más dinámicos y significativos han sido el foco de interés dentro del área de la educación. Hacer que los estudiantes sean participativos en el proceso de aprendizaje y ayudarlos a tener autonomía en la búsqueda de información ha sido un desafío para los educadores. La teoría del Aprendizaje Significativo, propuesta por Ausubel, trae consigo que se incorporen nuevos conocimientos y se aprendan mejor cuando se relacionan con conocimientos previos ya entendidos por el individuo. En educación, esta metodología permite afinar y reorganizar ideas, creando nuevas conexiones cognitivas. Así, el presente trabajo tiene como objetivo presentar una práctica de enseñanza-aprendizaje basada en la teoría del Aprendizaje Significativo a través de la elaboración de libros de cuentos infantiles. Se eligió una clase de 1º año de secundaria para participar de la práctica que se inició con la elaboración de Mapas Conceptuales (organizadores anteriores) y aplicación de un Pre-cuestionario. Se instruyó a los estudiantes sobre dónde y cómo buscar información en Internet, ya que este medio de investigación es tan utilizado e importante, pero poco trabajado en el aula. La construcción del libro de cuentos sobre un tema de Ciencias Naturales fue el producto final del trabajo. Tras la actividad, se aplicó un Post-cuestionario para viabilizar un análisis más adecuado del posible aprendizaje de los estudiantes. Este estudio evidenció una conexión entre el espacio múltiple en internet y la producción física de material (cuadernillo), que resultó ser eficiente para la comprensión y síntesis de contenidos relacionados con las Ciencias Naturales. La comparación de los cuestionarios y el análisis de los materiales producidos arrojaron ideas más ricas, claras e interrelacionadas, corroborando la hipótesis del estudio. Palabras-clave: Ausubel; enseñanza-aprendizaje; libro; mapas conceptuales; metodología.

Adventure stories dominate Israeli chil­dren's literature. At various times over the past forty years, three types of adventure stories have been prominent: historical/ biographical, Holocaust, and neighbor­hood life. Each deals with reality, challeng­ing situations, and leadership in a different way. This paper examines: (1) the ways in which the cultural climate and sociological ethos participate in molding the hero's character; (2) whether the fictional world presented to Israeli children mirrors the Is­raeli reality of the time; (3) whether Israeli children's fiction satisfies the expectations and needs of readers, educators, parents, and critics; and (4) how the adventure story genre gained its prominence in Is­rael.

We are looking for a tongue that speaks with reverence for life, searching for an ecology of mind. Without it, we have no home, have no place of our own within the creation. It is not only the vocabulary of science that we desire. We also want a language of that different yield. A yield rich as the harvests of the earth, a yield that returns us to our own sacredness, to a self-love and respect that will carry out to others (Hogan 122). Through storytelling the world is created and recreated: in the values and worldviews stories offer, in the patterns of thinking and knowing that listening and reading place in our spirits and minds, in the stories we tell and live. We walk in the ripples our old people left behind and we follow them up, just as our children and the generations after us will walk in shapes and patterns we make with our lives. Our delicate world is poised on a precipice with increasing species extinction and loss of habitat, deforestation, displacement of animal and human communities, changing weather patterns, and polluted waterways. How do we manage the environmental and cultural issues of our complex global world? How do we come together to look after each other and the world around us? Often there is a sense that science will save us, that if we keep “progressing” at a fast enough rate we can escape the consequences of our actions. However, science alone, no matter how sophisticated, cannot alter the fundamental truths of action and reaction in Country: that if you take too much, something, somewhere, will go without. As Guungu Yimithirr man Roy McIvor writes: Dad often spoke about being aware of the consequences of our actions. He used different stories as teaching tools, but the idea was the same. Like a boomerang, your bad actions will come back to hurt you (89). In the end, it will not be technological innovation alone that will alter the course we have set out for ourselves. Rather, it will be human beings embracing a different way of relating to the environment than the current dominant paradigm that sees people take too much, too often. With this is mind, we would like to consider the integral role children’s literature plays in sustaining knowledge patterns of Country and ecology for the future. In the context of children’s literature and ecology the idea of sustaining environmental and cultural awareness is shared via the written word—how it is used, presented, and read, particularly with ideas of the child reader in mind. Our children will be the ones who struggle with the ripples we leave in our wake and they will be the ones who count the cost of our decisions as they in turn make decisions for the generations that will follow them. If we teach the right values then the behaviour of our children will reflect those ideas. In the Aboriginal way it’s about getting the story right, so that they can learn the right ways to be in Country, to be a human being, and to look after the world they inherit. As Deborah Bird Rose states, Country is a “nourishing terrain; a place that gives and receives life” (Rose Country 7). This paper will examine two Aboriginal children’s stories that teach about a living, holistic, interrelated world and the responsibilities of human beings to look after it. Specifically, the authors will examine Joshua and the Two Crabs by Joshua Button and Dingo’s Tree by Gladys and Jill Milroy. Both stories are published by Aboriginal publisher Magabala Books and represent a genre of Aboriginal writing about Country and how to take care of it. They form part of the “language of that different yield” (Hogan 122) that Indigenous writer Linda Hogan advocates, a language that emerges from an ecology of the mind that locates human beings as an interconnected part of the patterns of the earth. The first text discussion focuses on the sharing of implicit meaning via textual form—that is, the lay out of the story, its peritext, and illustrations. The second textual discussion centres explicitly on content and meaning. Both textual analyses aim to open up a dialogue between Aboriginal ecology and children’s literature to provide inter-subjective approaches for Aboriginal and non-Aboriginal readers/listeners. Aboriginal Story Ecology In Aboriginal philosophy the universe is the creative expression of Dreaming Ancestors who created the world—the land, plants, animals, stars and elements—and then settled into the creation they had made: …white people also call this the Dreaming. The Tjukurpa tells how the landscape, animals, plants, and people were made and what they mean for one another. The Tjukurpa is in everything. It is in the rocks, in the trees, even in the mice, mingkiri (Baker xii). Through their actions they formed the pattern of reality that finds its expression in human beings and in everything around us—the stars, earth, rivers, trees, rocks, and forms of life that make up the world. Aboriginal knowledge systems understand the patterns of life and our relationships to them through the structure of story. Dreaming stories—stories about the creation of the world and how the fundamental Laws were handed down to the people—have special significance. However, the stories we make with our lives and experiences are also important—stories about funny things that happened and our relationships with our families and loved ones. These stories are also a part of Country because there is nothing that does not emerge and return to the land, nothing that is not part of the pattern that the Dreaming Ancestors made: The Story is the Land, and the Land is the Story. The Story holds the people, and the people live inside the Story. The Story lives inside the people also. It goes all ways to hold the land (Turner 45). The imprint of creation, the structure of the relationships that make up the world, is held in story. Thus, in Aboriginal logic the patterns of nature, the patterns of stories, and the patterns of language, society, and culture are reflections and expressions of the pattern of creation woven by the Dreaming Ancestors. As Yunipingu writes: …For us society and nature are not separate. We have Yirritja and Dhuwa, and these categories contain elements which are both natural and social. Also, of course, they have elements which Europeans call supernatural or metaphysical (9). Through stories we come to know not just the world but who we are and the proper ways of relating to the ecology’s around us. As we learn stories the pattern of learning grows inside of us, in our ways of thinking, doing, and being. They provide the framework for our spirit and mind to develop so we come to know and be in the world in a proper or straight way—to enhance the pattern of life, not to destroy it. This is an Aboriginal “Story Ecology” where stories serve as maps that teach us who we are and our role in the world. Yuin Elder Max Harrison (2009) observes the three truths on passing on traditional knowledge: See the land…the beautyHear the land….the storyFeel the land…the spirit (no pg). To sustain Country is to sustain the self. To tell, share, and know story is to know the environment and to sustain the environment. As Kathy Deveraux writes ‘it’s like the spider: a lot of things tie in together, so when you ask one thing, you get a whole big history’ (qtd in Rose, Country 7). Aboriginal story promotes ecological practice by enlivening the reader’s empathy toward the environment and nurturing a sense of union between what is within us and what is outside of us. The imagery and text of Aboriginal story often achieves this umbilical in two defining ways. The first is through the positioning of the age, setting, or backdrop. The second is born from the relationships animated between these vitally active surrounds and the characters contained therein. Makere Stewart-Harrawira states that: All human experiences and all forms of knowledge contributed to the overall understandings and interpretations. The important task was to find the proper pattern of interpretation. Hence it can be said that indigenous peoples have traditionally regarded knowledge as something that must be stood in its entire context. The traditional principles of traditional knowledge [...] remain fixed and provide the framework within which new experiences and situations are understood and given meaning. As such, these principles are the means by which cultural knowledge becomes remade and given meaning in our time. Another principle is that every individual element of the natural world, each individual rock and stone, each individual animal and plant, every body of land and of water, has its own unique life force (155). Examples of these features of Aboriginal story ecology can be seen in our analysis of the following two stories Joshua and the Two Crabs and Dingo’s Tree. Joshua and the Two Crabs In Joshua and the Two Crabs by Joshua Button, published by Magabala Books in 2008, the narrative, illustrations, and peritext all combine to enable alternative eco-cultural understandings and values. Joshua Button is a young Indigenous author from saltwater country, as is the protagonist in the text. Joshua, the character, observes the movements of country and its inhabitants and Joshua, the author and illustrator, expresses these meanings via words, colours, and illustrations. In particular, the text represents relationships with, and within, Crab Creek. The peritext offers information about Crab Creek—a tidal creek in the mangroves of Roebuck Bay in north-west Western Australia. “The area abounds with wildlife, including migratory birds, fruit bats, crabs and shellfish. It is a place for local people to spend the day fishing off the beach for a ‘pan-sized’ feed of salmon, queenfish, silver bream or trevally. Catching and cooking mud crabs is one of Joshua’s favourite things to do” (no pg). Story, place, and child are now formally positioned as the centre of the narrative and their relationship strengthened by the colours used to represent country and movement. The narrative focuses on Joshua’s family trip to Crab Creek and his interactions with the land, the water, and the animals. His story reveals a meeting of land and sea, a reading of land and sea, and a listening to land and sea. Country and its inhabitants are revealed as having multiple relationships. From the moment his mob arrives, the narrative emphasizes listening to and reading country: Joshua’s Mum moves faster when she reads the movement of the tides and when Joshua ventures into the mangroves he listens to the “Plop! Plop! Plop! Of the air rising up through the mud” (Button, no pg.). With his bucket and spear Joshua’s movements through country are observed and considered by the creatures around him; wader birds carefully watch him and Joshua engages in a dialogue with two big mud crabs that remind the boy that he has also been perceived by Country, which is itself sentient. Animals and country speak and observe—the tide moves, the sand is hot, mudskippers skip, and crabs escape and hide. Joshua’s relationship with the mud crabs is dependent on the boy and the crabs seeing each other and communicating: “‘I can see you two!’ ‘Well, we can see you too,’ said the crabs” (Button, no pg). The narrative provides a beautifully simplistic example of different perspectives and positions for the intended child reader. Both Joshua and the crabs’ perspectives are given space to be acknowledged and understood: one character is searching, another character is escaping. When Joshua finally catches the crabs he carefully brings them back to camp and the entire family have a good feed of them and the golden trevally Joshua’s Mum caught. “Afterwards they sat watching the tide empty out of the bay. Long-legged wader birds picked their way across the silvery mudflats. It had been a good day” (Button, no pg). The story offers a colourful, fun, and cyclical way of seeing country from a perspective that centres the relationship between family, food, and land. It presents this relationship and the implicit meaning of observing and living in country via traditional textual elements such as the written word, colour illustrations, and movement from left to right, but in doing so, the text becomes a form of sustaining relationship with country as well, not just for Joshua but also for the intended child reader. Dingo’s Tree Dingo’s Tree by Jill and Gladys Milroy is a much longer story than Joshua and the Two Crabs and also deals with more serious themes. The story is about Dingo who drew his own rain tree on a rock because the other animals didn’t share their shade with him. The tree then becomes real and grows beyond the limit of the sky and keeps Dingo’s waterhole full through the drought season. The others come to rely on Dingo’s waterhole and feel bad for not sharing with him and teasing him about his tree. As the water dries up, one single special raindrop is found on a little tree and Dingo decides to spare the drop even when all the waterholes become dry. Dingo feels that something is wrong when he sees that the raindrop is slowly growing larger. To survive, Dingo and his friend Wombat teach Little Tree to walk to water. He becomes known as Walking Tree and they are soon joined by all of the others in the land. On their way to the mountain to find water they see the river and half the mountain replaced by mining, and Walking Tree soon becomes overburdened with the weight of the others. The birds decide to carry him—his branches full of friends—and they succeed for a short time only to grow tired. Soon they are all falling toward their impending death until Dingo chooses to use the last raindrop, now much larger, and their fall is broken and a new waterhole is made. However, it is only enough for Walking Tree to live forever and because he is the last tree, the others (but one baby crow) go to the Heavens awaiting their return at the end of humankinds reign on the land. In the story of the Dingo’s Tree the adventure begins in “unspoiled country” with its inventory of cast members who, in real life, naturally inhabit the area. All are shown to be adjusting recurrently within the known cycles of drought and abundance, suggested by the authors in the line “the drought came”, then a subtle reference to patterns of migration as the season is introduced and the cast move to more reliable waterholes. Establishing the story in this space encourages the young reader to identify the natural landscape as “normal”, and part of that normality are the cycles that create and degenerate growth. It is the antagonist that is responsible for the creation of unnatural change. Mining becomes the assassin of country with men as poachers "carting away great loads of rock and earth in huge machines" (Milroy and Milroy 39). This scene is of great importance, although it is only allocated a single page, because it shows where the artery of country has been severed. Its effects have been cleverly woven into the storyline beforehand in several ways. The line “the drought stayed” illustrates a seasonal defiance. In turn, Dingo becomes aware of this imbalance: "for a while Dingo lived happily in his cave but lately he’d begun to worry about the country, something wasn’t right" (Milroy and Milroy 1). Dingo reads the signs of the country. His attention to the life cycles of the land are brought to the attention of the reader teaching children about the important role of observation in caring for country. In addition to this, a warning is given to Crow by the Rain Tree through a vision of a future landscape devastated and dying: "It is what your country will become…The mining is cutting too deep for the scars to heal. Once destroyed the mountains can’t grow again and give birth to the rivers that they send to the sea…"(Milroy and Milroy 20). Contained in this passage is a direct environmental truth, but the beauty of the passage lies in the language chosen by the authors. The phrase “cutting too deep for the scars to heal” links a human experience to an environmental one, as does the phrase “give birth to the rivers”. A child is able to recognise the physical pain of a cut and a child is also able to recognise that birth belongs to the Mother. The use of this language forges a powerful connection in the mind of the reader between the self and the Earth - the child and the Mother. Country feels pain, the mountains and rivers activate their own membership in life’s cycles, and even the far off Moon participates in thought and conversation, all of which awaken a consciousness within the reader toward the animate spirit of the natural world, parenting a considerate relationship to land. It is this animate relationship with the land that it is at the heart of the story. It is the mountain that sends the rivers to the sea, rather than the abstract force of gravity. If the authors were to omit this living relationship between the mountains, the rivers, and the sea, the readers understanding would be contained to simple geophysical processes with their life force reduced to an impersonal science, if thought of at all. Instead, the mountain chooses to send the rivers to the sea because it is the right way, so natural processes become exposed as conscious participants in story rather than being portrayed as passive or inanimate objects and this not only deepens the impact of their destruction later in the plot, it also deepens the connection between the reader and the land. Writing the Future Joshua and the Two Crabs and Dingo’s Tree offer two different Aboriginal stories with underlying commonalities: they both position relationships, Country, and people into an integrated web and provide a moral framework for sustaining the relationships around us. Children’s picture books and narratives are foundational initiations for many Australian child readers in their ecological education—whether overtly or covertly. How a society, a character, a narrative, represents, treats, and perceives the land influences how the reader encounters the landscape. We argue that Indigenous Australian children’s literature, written, illustrated, produced, and disseminated largely by Indigenous knowledges, offers counter-point views and stories about the land and accompanying interrelated relationships that provide the reader with a space to re-consider, re-inhabit, or transform their own ecological positioning. References Baker, Lynn. Mingkirri: A Natural History of Ulu-ru by the Mu-titjulu Community. Canberra: IAD Press, 1996. Button, Joshua. Joshua and the Two Crabs. Broome: Magabala Books, 2008. Harrison, Max. My Peoples Dreaming. Sydney: Finch Publishing, 2009. Hogan, Linda. “A Different Yield.” Reclaiming Indigenous Voice and Vision. Ed. Marie Battise. Toronto: UBC Press, 2000. 115 – 23. McIvor, Roy. Cockatoo: My Life in Cape York. Broome: Magabala Books, 2010. Milroy, Gladys and Jill Milroy. Dingo’s Tree. Broome: Magabala Books, 2012. Rose, Deborah Bird. Country of the Heart: An Indigenous Australian Homeland. Canberra: Aboriginal Studies Press, 2002. ——-. “Pattern, Connection, Desire: In Honour of Gregory Bateson”. Australian Humanities Review, 35 (2005). 14th June 2012, ‹http://wwwlib.latrobe.cdu.au/A1IR/archive!lssue-June 2005/rose.html›. Stewart-Harawira, Makere. “Cultural Studies, Indigenous Knowledge and Pedagogies of Hope.” Policy Futures in Education 3.2 (2005):153-63. Turner, Margaret. Iwenhe Tyerrtye: What It Means to Be an Aboriginal Person. Alice Springs: IAD Press, 2010. Yunupingu, Mandawuy. Voices from the Land. Canberra: Australian Broadcasting Corporation, 1994.

Greetings everyone! Welcome to another issue and a round-up of children’s literature news. It has been a long and cold winter in Edmonton, but it seems to be finally winding down. There are some award and event news to share with you as well as some podcasts. I happen to be a big podcast lover and and my favourite ones help me get through the winter darkness with insightful ideas and discussions. It thought it would be fun to highlight a few children’s literature podcasts that may interest our readers. Here’s wishing you all a warm spring! AWARDS Alberta Literary Awards were announced by the Writers’ Guild of Alberta. The books shortlisted for the R. Ross Annett Award for Children’s Literature include: Jenny Keith (Edmonton) – Day Cat, Night Cat Mike Kerr (Calgary) – Crafty Llama Nhung Tran-Davies (Calmar) – Ten Cents a Pound Shortlist reading events will be held this spring in Edmonton on May 5 and in Calgary on May 15. The BC Book Prize shortlists have been announced, and titles shortlisted for the Sheila A. Egoff Children’s Literature Prize include: Learning to Breathe by Janice Lynn Mather The Journey Forward, A Novella on Reconciliation: When We Play Our Drums, They Sing! / Lucy and Lola by Monique Gray Smith and Richard Van Camp Nice Try, Jane Sinner by Lianne Oelke No Fixed Address by Susin Nielsen Very Rich by Polly Horvath Those shortlisted for the Christie Harris Illustrated Children’s Literature Prize include: The Nameless City: The Divided Earth by Faith Erin Hicks, Robert Bateman: The Boy Who Painted Nature by Margriet Ruurs Illustrated by Robert Bateman, Sir Simon: Super Scarer by Cale Atkinson; Sparks! by Ian Boothby Illustrated by Nina Matsumoto Sterling, Best Dog Ever by Aidan Cassie Full details can be found at the BC Book Prize Website. EVENTS Me and Mr. Carnegie: 16th Albert Lahmer Memorial Lecture The Osborne Collection of Early Children's Books, Lillian H. Smith Branch, Toronto Public Library April 25, 2019, 7:00 pm - 8:00 pm See more at: Canadian Children’s Book Centre CHILDREN’S AND YA PODCASTS YA Write Every month, Amy Mathers talks to YA writers about their inspiration as a writer and their latest books. Picturebooking A Podcast About Creating and Sharing Picture Books The Yarn A narrative adventure. The Yarn takes listeners behind the scenes of children's literature, and lets them look at all the threads that must be weaved together to create a book. The Children’s Book Podcast Hosted by Matthew Winner, elementary school librarian and co-founder of All The Wonders. The Children's Book Podcast features insightful and sincere interviews with authors, illustrators, and everyone involved in taking a book from a drawing board to bookshelf. Books Between A podcast about books for tweens around the ages 8-12. The podcast offers trending topics, author interviews, and recommendations.

Michaels, Anne. The Adventures of Miss Petitfour, illustrated by Emma Block. Tundra Books, 2015. The winner of numerous awards, Anne Michaels has earned her place among Canada’s most talented wordsmiths. Long a respected Canadian poet, her brilliant debut novel—Fugitive Pieces (1996)—brought her international acclaim. The Adventures of Miss Petitfour is Michaels’ first book for children. Emma Block is a young freelance illustrator who has already established a reputation for delicately feminine and delightfully quirky illustrations. Her work can be seen in children’s books, Hallmark products, and in tableware. This book represents a nearly perfect partnership between the author and the illustrator.Among other things, this is a book about the stories we like to tell and read. The books in the village bookshop near Miss Petitfour’s house are divided into two sections: ho-hum and hum. The former are books in which nothing ever happens, but are “full of interesting facts that would never come in useful” and the latter are adventure books.This charming little book is certainly not ho-hum, but neither does it offer grand adventures. The adventures of the unconventional Miss Petitfour and her sixteen fun-loving cats—all of whom go everywhere with her, quite literally wherever the wind takes them—are adventures of "just the right size—fitting into a single, magical day." These little adventures demonstrate that sometimes “the best things happen” when “things work out differently than you expect.”Young bookworms and aspiring writers will be delighted to find that Michaels offers them a peak behind the curtain, one that reveals some of the key elements in the construction of a story, and explains how these elements function with clarity and wit. For example, in the midst of a major digression in a story about a trip to buy marmalade, we are told that a digression is “when the story wanders off the point and gets lost” and that it can be the best part of a story. Several digressions follow naturally and are clearly marked as such. In another story, we are told that a coincidence “is something that happens at just the right moment,” and that stories use them “to fix up tricky tangles”, following which, coincidentally, the story—about a confetti factory explosion—cleverly and humorously demonstrates the technique several times in rapid succession.The name of the main character—Miss Petitfour—is somewhat unexpected, but the delicate and ornate nature of the French pastry known as a petitfour makes it a suitable metaphor at the heart of a little book that celebrates little everyday adventures, decorative language, and fanciful illustrations in a way that is light and sweet and fun. This book is very highly recommended for children of all ages and is well suited for reading aloud.Highly recommended: four stars out of fourReviewer: Linda QuirkLinda taught courses in Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become a teaching librarian at University of Alberta’s Bruce Peel Special Collections. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have long been forgotten by history.

Wharton, Thomas. The Fathomless Fire. Toronto: Doubleday Canada, 2012. Print. In the first book of The Perilous Realm fantasy trilogy for young adults, The Shadow of Malabron (2010), Will Lightfoot travels to the city of Fable in the land of Story and he is told that it “is not just a world with stories in it,… this world is story” (60). In this place, Will learns about his own special talents and discovers that he must play his part in the story that is unfolding around him if there is to be any chance of averting catastrophe. Together with his friend Rowen, her loremaster grandfather, Nicholas Pendrake, and a wolf named Shade, Will undertakes a perilous journey in the hopes that he can help his new friends and find his own way home. The second book of the trilogy, The Fathomless Fire (2012), picks up the adventures of Will, Rowen, and Shade where The Shadow of Malabron left off. Will returns to the land of Story only to discover that his past exploits have become the stuff of legend, but that the land of Story is imperilled because one story is growing so powerful that it is changing and warping everything, even the past, and there is now a very real risk that this dark story will become the only story “everywhere and for ever. No one will remember that there was ever anything else before, or imagine that things might be different” (325). This novel is recommended for young adults (16+). This is an intriguing book for those who are interested in the idea that we are each, as individuals, the product of the stories (or histories) that we tell ourselves and others, and that we have the power to change the narrative. Thomas Wharton has imagined a complex world of adventure, but one in which meanings can be both unfathomable and unstable. Like many of the books in this category, “The Perilous Realm” series can be understood by young adult readers but will offer greater depth to moremature and knowledgeable readers.Follow the links below to view my interview with Thomas Wharton videotaped for The Deakin Review of Children’s Literature in December 2012. In this interview, the author discusses two of his earlier novels – Icefields (1995) and The Logogryph (2004) – before turning to the first two books in his The Perilous Realm trilogy: The Shadow of Malabron (2010) and The Fathomless Fire (2012). ¤ Access the interview here: http://youtu.be/aRUVHma7ZS4 Recommended: 3 out of 4 stars Reviewer: Linda Quirk Linda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history. For another perspective on this novel, please see the review by Lissa Davies in The Deakin Review of Children’s Literature, Vol. 2, No. 3 (2012).

Williams Beckhorn, Susan. The Wolf’s Boy. Disney-Hyperion, 2016.Shortly after he is born, Kai’s parents discover his clubfoot and decide to abandon him to a pack of nearby wolves. Rather than become a meal for the wolves, they care for him until his mother comes to reclaim him to a human upbringing. Yet still, Kai’s childhood in the human village is not exactly easy for someone whose foot is considered to have made him tabat (cursed). He is dogged by taunts from his peers, who call him “Wolfboy”, and reproaches from his father, who is quietly ashamed of his son’s perceived limitations. Banned from taking part in hunting, Kai toils doing children’s work and harbours a secret artistic streak. His loneliness is eventually placated when he adopts a local wolf club (Uff) but, eventually, their existence in the village becomes untenable and Kai sets out with Uff on a dangerous adventure of self-discovery. Along the way, they learn to hunt, meet a giant Ice Man and develop a friendship that is believed to be impossible between humans and wolves.The Wolf’s Boy is Beckhorn’s second foray into prehistoric children’s fiction, following her 2006 novel Wind Rider. Here, she fashions a fairly complex story for young readers, with liberal usage of the villagers’ fictitious language that is seemingly unsupported with definitions (until the reader stumbles across the book’s glossary of term definitions). These challenges, however, will reward advanced readers looking to hone their reading skills on more advanced prose. Beckhorn quickly departs from The Wolf Boy’s familiar Jungle Book beginnings to establish the novel as a memorable work in its own right, and she uses beautiful, descriptive language to tackle bullying, promote body diversity and even explore the ancient beginnings of humans’ fears of “otherness”.Given Beckhorn’s success at using a prehistoric setting to illustrate the depth and genesis of human relationships with animals, it’s almost surprising that authors have not mined this territory consistently before. With certain appeal for children interested in prehistory, dogs and survival stories, The Wolf’s Boy will reward strong readers.Recommended: 3 out of 4 starsReviewer: Kyle MarshallReviewer biography: Kyle Marshall is the Planning, Assessment & Research Analyst for Edmonton Public Library. He graduated with his MLIS from the University of Alberta in June 2015, and is passionate about diversity in children's and youth literature.

Foley, Jessie Ann. The Carnival at Bray. Ashford, CT: Elephant Rock Books, 2014. Print.Amidst the grunge scene of 1993 Chicago, 16 year-old Maggie Lynch moves with her family to Ireland to live with her mother’s newest romantic partner. This transition from the relative anonymity of big-city life to a small town on the Irish Sea presents some adjustment issues for Maggie. The weather, scenery and accents all differ from back home, but most of all she misses her beloved Uncle Kevin, with his rock star ambitions and habit of quoting famous literature. Eventually, Maggie finds a small circle of friends in Bray - bookish and disciplined classmate Aíne, sweetly charming Eoin and pious nonagenarian Dan Sean - who help her to weather the storms of drama circling her volatile family life.When she stumbles upon a message from the past, Maggie is jolted from her everyday teenage anxieties to a more pressing adventure, taking her on a whirlwind trip to the continent. Along the way, she finds the love and happiness that have eluded her since her move to Ireland. Maggie’s experiences culminate in a newfound confidence that permits her to live with the intention and purpose she has sought.Jessie Ann Foley received a 2015 Printz Honor for this classic coming-of-age story, with intensely evocative storytelling that brings to life both the time - early 90s grunge music culture - and place - small town Ireland. The Carnival at Bray sets itself apart from other Irish settings in that the reader experiences the countryside from the fresh perspective of a young, untraveled American teen who is enamoured with the light, sea and bucolic landscapes that surround her. Foley tackles popular YA themes - teenage sex, parent-child relationships and drug addiction - with a candid yet tactful style that respects her audience’s maturity. If anything, the strength of her writing might leave the reader craving a more thorough exploration of Maggie’s relationships, which at points are incompletely examined. Foley’s story will appeal to grunge music enthusiasts and fans of coming-of-age novels, especially those who have enjoyed works by Jandy Nelson or Rainbow Rowell.Recommended: 3 out of 4 starsReviewer: Kyle MarshallKyle Marshall is the School-Aged Services Intern Librarian for Edmonton Public Library. He graduated with his MLIS from the University of Alberta in June 2015, and is passionate about diversity in children's and youth literature.

Zoboi, Ibi. My Life as an Ice Cream Sandwich. Penguin Random House, 2019. My Life as an Ice Cream Sandwich is Ibi Zoboi’s middle-grade debut, following her YA novels Pride and the National Book Award finalist American Street. Some of Zoboi’s concerns in her YA fiction are revisited here: Black community and communities, complexities of family relationships, and the difficulties and joys of discovering new places. Here Zoboi adds to the mix a quirky, sci-fi loving protagonist, and a historical setting: Harlem in the summer of 1984. Ebony-Grace Norfleet Freeman (aka E-Grace Starfleet in her galactic "imagination location," aka Ice Cream Sandwich to the Nine Flavas crew of MCs and B-girls) is a seventh-grader from Huntsville who is sent to live with her father in New York City for the summer. She’s full of science fiction knowledge and enthusiasm, abetted by her Granddaddy, who worked for NASA and occupies a large role in her internal narrative as Captain Fleet. Ebony-Grace is a somewhat frustrating protagonist, making a number of seeming unforced errors due to her commitment to her spacefaring alter ego, but she is authentic and compelling, too. Her insistence on being E-Grace Starfleet can be endearing, though she’s clearly using her imagination to avoid dealing with, or understanding, what’s happening around her. She describes her surroundings in terms of her space adventure: that Captain Fleet has been taken captive by the Sonic King on Planet Boom Box, and that the Sonic Boom threatens to overtake everything. Her new friends initially have little time for this kind of play; they’re busy developing their crew’s double-dutch, rapping and breakdancing skills in preparation for a competition that might get them into the big leagues. The culture-shock contrast, in other words, isn’t just between Huntsville and Harlem, but also between one kind of play and (although the Nine Flavas crew don’t see it like this) another; between childhood and adolescence. A caution for readers who appreciate concreteness: one subplot seems ambiguous to the point of opacity. Ebony-Grace has been sent to New York because of some trouble her Granddaddy has gotten into, or possibly a health crisis he is having. There are allusions from adult characters to sins Ebony-Grace’s grandfather has committed, consequences for bad decisions, lawyers, and journalists. His death near the end of the novel leaves both Ebony-Grace and the reader with questions but little closure; veiled references imply a sex-and-drugs aspect to his troubles, or a connection to the AIDS crisis, but this is never clarified.The narrative here is more atmospheric than propulsive, but that atmosphere is alive with culture and history. Character voices are lively, funny, and down to earth; their moment is depicted lovingly and specifically but without preciousness or nostalgia. This love letter to 1980s New York has mountains of appeal for any reader interested in science fiction or hip hop culture, and is a must for any collection looking to continue prioritizing diversity and representation in its holdings. Highly recommended: 4 out of 4 starsReviewer: Amanda Daignault Amanda Daignault is a PhD Candidate in the Department of English and Film Studies at the University of Alberta. She studies contemporary children's middle-grade fantasy novels, using methods of book history and bibliography to figure out where all those giant trilogies came from and what they're doing.

New Year. In this edition of the news I am highlighting several online resources as well as conferences, tours, and exhibits of possible interest.First of all, I highly suggest you sign up at the Alberta School Library Council's new LitPicks site (aslclitpicks.ca). It is free, filled with promise, and includes only books recommended by the reviewers. The reviews are searchable by grade level and genre (e.g., animal, biographical fable, fantasy, humour, historical, horror, verse, realistic, mystery, myth) and include all formats. The reviews include curriculum connections and links to relevant resources. Library staff review titles based on engagement of story, readability, descriptive language, illustration excellence and integrity of data, and source for non-fiction titles. The target users are teachers, teacher-librarians, library techs, and others working in libraries. School library cataloguers can provide a link to the review from within the catalogue record.Another recommended resource is CanLit for Little Canadians, a blog that focuses on promoting children's and YA books by Canadian authors and illustrators. The blog postings can also be found on Facebook. (http://canlitforlittlecanadians.blogspot.ca/)First Nation Communities READ is another resource for your tool box. It is an annual reading program launched in 2003 by the First Nations public library community in Ontario and includes titles that are written and/or illustrated by (or otherwise involve the participation of) a First Nation, Métis, or Inuit creator and contain First Nation, Métis, or Inuit content produced with the support of First Nation, Métis, or Inuit advisers/consultants or First Nation, Métis, or Inuit endorsement. Julie Flett's Wild Berries - Pakwa Che Menisu, available in both English and Cree, was the First Nation Communities Read Selection for 2014-2015 and the inaugural recipient of the Periodical Marketers of Canada Aboriginal Literature Award. (http://www.sols.org/index.php/develop-your-library-staff/advice-consulting/first-nations/fn-communities-read)This resource should also be of great value for those schools and libraries participating in TD Canadian Children’s Book Week in 2015. Each May, authors, illustrators and storytellers visit communities throughout the country to share the delights of Canadian children’s books. Book Week reaches over 25,000 children and teens in schools and libraries across Canada every year. The theme for this year is Hear Our Stories: Celebrating First Nations, Métis and Inuit Literature, celebrating the remarkable variety of topics, genres and voices being published by and about members of our First Nations, Métis and Inuit (FNMI) communities in Canada. On a personal note, I will be touring as a storyteller in Quebec as part of this year’s Book Week tour.Freedom to Read Week: February 22-28, 2015. This annual event encourages Canadians to think about and reaffirm their commitment to intellectual freedom, which is guaranteed them under the Charter of Rights and Freedoms. This year’s Freedom to Read review marks the thirtieth anniversary of its publication and of Freedom to Read Week in Canada. It was first published in 1984 to explore the freedom to read in Canada and elsewhere and to inform and assist booksellers, publishers, librarians, students, educators, writers and the public. To commemorate Freedom to Read’s thirtieth anniversary, some of our writers have cast a look back over the past three decades. As usual, the review provides exercises and resources for teachers, librarians and students. This and previous issues of Freedom to Read, as well as appendices and other resources, are available at www.freedomtoread.ca.Half for you and Half for Me: Nursery Rhymes and Poems we Love. An exhibit on best-loved rhymes and poems and a celebration of the 40th anniversary of Alligator Pie held at the Osborne Collection in the Lillian H. Smith Library in Toronto until March 7, 2015.Serendipity 2015 (March 7, 2015). An exciting day exploring the fabulous world of young adult literature with Holly Black, Andrew Smith, Mariko Tamaki, Molly Idle, and Kelli Chipponeri. Costumes recommended! Swing Space Building, 2175 West Mall on the UBC campus. (http://vclr.ca/serendipity-2015/)For educators: Call for entries for the Martyn Godfrey Young Writers Award (YABS). An annual, juried contest open to all students in Alberta in grades 4 through 9. Students are invited to submit their short stories (500-1500 words) or comic book by March 31, 2015 to the YABS office, 11759 Groat Road, Edmonton, AB, T5M 3K6. Entries may also be emailed to info@yabs.ab.ca.Breaking News: The Canada Council for the Arts has revised the Governor General’s Literary Awards Children’s Literature categories (in consultation with the literary community) in the wake of controversy regarding graphic novels. The revised category titles and definitions:The new Children’s Literature – Illustrated Books category will recognize the best illustrated book for children or young adults, honouring the text and the illustrations as forming one creative work. It includes picture books and graphic novels, as well as works of fiction, literary non-fiction, and poetry where original illustrations occupy at least 30% of the book’s space.The Children’s Literature – Text category will recognize the best book for children or young adults with few (less than 30%) or no illustrations. http://www.bookcentre.ca/news/governor_general%E2%80%99s_literary_awards_revisions_children%E2%80%99s_literature_categoriesGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

News and AnnouncementsAs we move into the so-called “summer reading” mode (although reading is obviously not a seasonal thing for many people), here is a “summery” (pardon the pun) of some recent Canadian book awards and shortlists.To see the plethora of Forest of Reading ® tree awards from the Ontario Library Association, go to https://www.accessola.org/WEB/OLAWEB/Forest_of_Reading/About_the_Forest.aspx. IBBY Canada (the Canadian national section of the International Board on Books for Young People) announced that the Claude Aubry Award for distinguished service in the field of children’s literature will be presented to Judith Saltman and Jacques Payette. Both winners will receive their awards in conjunction with a special event for children's literature in the coming year. http://www.ibby-canada.org/ibby-canadas-aubry-award-presented-2015/IBBY Canada also awarded the 2015 Elizabeth Mrazik-Cleaver Picture Book Award to Pierre Pratt, illustrator of Stop, Thief!. http://www.ibby-canada.org/awards/elizabeth-mrazik-cleaver-award/The annual reading programme known as First Nation Communities Read (FNCR) and the Periodical Marketers of Canada (PMC) jointly announced Peace Pipe Dreams: The Truth about Lies about Indians by Darrell Dennis (Douglas & McIntyre) as the FNCR 2015-2016 title as well as winner of PMC’s $5000 Aboriginal Literature Award. A jury of librarians from First Nations public libraries in Ontario, with coordination support from Southern Ontario Library Service, selected Peace Pipe Dreams from more than 19 titles submitted by Canadian publishers. “In arriving at its selection decision, the jury agreed that the book is an important one that dispels myths and untruths about Aboriginal people in Canada today and sets the record straight. The author tackles such complicated issues such as religion, treaties, and residential schools with knowledge, tact and humour, leaving readers with a greater understanding of our complex Canadian history.” http://www.sols.org/index.php/links/fn-communities-readCharis Cotter, author of The Swallow: A Ghost Story, has been awarded The National Chapter of Canada IODE Violet Downey Book Award for 2015. Published by Tundra Books, the novel is suggested for children ages nine to 12. http://www.iode.ca/2015-iode-violet-downey-book-award.htmlThe 2015 winners of the Ruth and Sylvia Schwartz Children’s Book Awards were selected by two juries of young readers from Toronto’s Alexander Muir / Gladstone Avenue Junior and Senior Public School. A jury of grade 3 and 4 students selected the recipient of the Children’s Picture Book Award, and a jury of grade 7 and 8 students selected the recipient of the Young Adult / Middle Reader Award. Each student read the books individually and then worked together with their group to reach consensus and decide on a winner. This process makes it a unique literary award in Canada.The Magician of Auschwitz by Kathy Kacer and illustrated by Gillian Newland (Second Story Press) won the Children’s Picture Book Category.The winner for the Young Adult/Middle Reader Category was The Boundless by Kenneth Oppel (HarperCollins Publishers).http://www.ontarioartsfoundation.on.ca/pages/ruth-sylvia-schwartz-awardsFrom the Canadian Library Association:The Night Gardener by Jonathan Auxier (Penguin Canada) was awarded CLA’s 2015 Book of the Year for Children Award.Any Questions?, written and illustrated by Marie-Louise Gay (Groundwood Books) won the 2015 Amelia Frances Howard-Gibbon Award.This One Summer by Mariko & Jillian Tamaki (Groundwood) was awarded the 2015 Young Adult Book Award.http://www.cla.ca/AM/Template.cfm?Section=Book_Awards&Template=/CM/HTMLDisplay.cfm&ContentID=16132The 2015 Winner of the Crime Writers of Canada’s Arthur Ellis Awards for Best Juvenile/YA Book was Sigmund Brouwer’s Dead Man's Switch (Harvest House). http://crimewriterscanada.com/Regional awards:Alberta’s Ross Annett Award for Children’s Literature 2015:Little You by Richard Van Camp (Orca Book Publishers) http://www.bookcentre.ca/awards/r_ross_annett_award_childrens_literatureRocky Mountain Book Award 2015:Last Train: A Holocaust Story by Rona Arato. (Owl Kids, 2013) http://www.rmba.info/last-train-holocaust-storyAtlantic Book Awards 2015 from the Atlantic Book Awards SocietyAnn Connor Brimer Award for Children’s Literature: The End of the Line by Sharon E. McKay (Annick Press).Lillian Shepherd Award for Excellence in Illustration: Music is for Everyone illustrated by Sydney Smith and written by Jill Barber (Nimbus Publishing) http://atlanticbookawards.ca/awards/Hackmatack Children’s Choice Book Award 2015:English fiction: Scare Scape by Sam Fisher.English non-fiction: WeirdZone: Sports by Maria Birmingham.French fiction: Toxique by Amy Lachapelle.French non-fiction: Au labo, les Débrouillards! by Yannick Bergeron. http://hackmatack.ca/en/index.htmlFrom the 2015 BC Book Prizes for authors and/or illustrators living in British Columbia or the Yukon:The Christie Harris Illustrated Children's Literature Prize was awarded to Dolphin SOS by Roy Miki and Slavia Miki with illustrations by Julie Flett (Tradewind).The Sheila A. Egoff Children's Literature Prize for “novels, including chapter books, and non-fiction books, including biography, aimed at juveniles and young adults, which have not been highly illustrated” went to Maggie de Vries for Rabbit Ears (HarperCollins). http://www.bcbookprizes.ca/winners/2015The 2015 Manitoba Young Readers’ Choice Award (MYRCA) was awarded to Ultra by David Carroll. http://www.myrca.ca/Camp Outlook by Brenda Baker (Second Story Press) was the 2015 winner of the SaskEnergy Young Adult Literature Award. http://www.bookawards.sk.ca/awards/awards-nominees/2015-awards-and-nominees/category/saskenergy-young-adult-literature-awardFor more information on Canadian children’s book awards check out http://www.canadianauthors.net/awards/. Please note that not all regional awards are included in this list; if you are so inclined, perhaps send their webmaster a note regarding an award that you think should be included.Happy reading and exploring.Yours in stories (in all seasons and shapes and sizes)Gail de VosGail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and commic books and graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

What is game who got game Where's the game In life Behind the game Behind the game I got game She got game We got game They got game He got game -- He Got Game by Public Enemy(From the soundtrack to the 1998 Spike Lee film He Got Game) There is an interesting pattern that develops when a relatively new object of study is broached by cultural studies academics. A reflex response is to defend the reasons why you are giving time to studying these apparently innocuous pastimes. Defenses of television studies twenty-five years ago could have resembled the way that the new forms of games are now being investigated: a preamble of justification -- like an incredibly deep inhalation that has to precede a long-winded exhalation -- would be necessary before launching into the dance of critical analysis. Thankfully our authors have learned and progressed from their forebears at least in this issue (but probably not in every version of game material that you will see flowing outwards in the next few years) and our articles get to the heart of the game, conceptually, analytically and critically. What we're telling you is that this is a remarkable issue that, along with the online re-play conference of 1999, launches the study of games in the contemporary moment of new media game forms and their call and response to previous patterns of play and pastimes. The articles here represent cutting-edge thinking about games and we have, as your humble issue editors, collected those postures and positions in one place. The term pastime to describe playing games has become a bit antiquated, but we'd like to regenerate it here. Our various authors have obviously devoted an incredible number of hours to understanding the games that they describe: contemporary computer games, as much as learning the intricacies of a particular sport, often require an investment of time over weeks and months to achieve sometimes only limited mastery. A pastime has usually been relegated to rainy Saturday afternoons when children (or adults) couldn't work out what do with themselves and were trapped within the confines of the home. To pass the time the old standard board games would appear: from the Victorian Snakes and Ladders to the spirit of proprietorial capitalism of Monopoly; from the war dimensions of Risk and Chess to the mildly headache-producing Scrabble. Passing time could be seen as a description of what childhood has often been about: a transitional reality whose value is always questionable and debatable by others because it is seen as the foundation for the rest of life. Indeed, one element of the moral panic about contemporary computer games is a matter of adults trying to determine whether these games are valuable for their children's future employability in the information economy or a massive waste of time that can never be recovered (Marshall). The pastime, instead of being of peripheral importance has now moved centre-stage in contemporary life through the ubiquity of electronic games and the fact that these games no longer are clearly the province of adolescents but a major cultural reality for a very large population from the ages 5 to 50. The concept of game has similarly migrated, so that most of the authors who have written for this issue have dealt with video and computer games primarily and not with sport or board games or even television game shows, although we have our new and intriguing representative articles from some of these other domains. Several of our authors have been intrigued by how video and computer games have now become metaphors for contemporary life. Certainly recent films have used the game as the new way to deal with the fears and powers of general technological change. In "Flip Horizontal: Gaming as Redemption" José dos Santos Cabral Filho relies on Roger Callois's categories to debate the role of the game in the formation of identity in contemporary culture's continuous debate about the power of technology to determine, and the freedom that technology apparently endows to its users. "The Fortean Continuity of eXistenZ within a Virtual Environment" by Adam Dodd revisits the work of philosopher of the paranormal, Charles Fort, and explores the connections between his ontology of continuity and the movement of signs within a postmodern, virtual, networked environment, analysing Cronenberg's 'game' film eXistenZ and relationships between the body, media, truth and representation. In "Game" Rebecca Farley ponders the concepts of 'game' and 'play' and how these intersect with the values of the society in which games are produced and played, and argues for game theories that recognise the essential element central to all gaming experiences: the player. "The Knowledge Adventure: Game Aesthetics and Web Hieroglyphics" by Axel Bruns looks at the shifting aesthetic relationship between words and images in new media as exemplified by the Internet, as a focus for an examination of the influences computer gaming has brought to the Internet, and to computing in general. Our tapestry on the game weaves from this larger conceptual pattern into analytical reflection about the aesthetics and narratives in particular games. In "Odyssey Renewed: Towards a New Aesthetics of Video-Gaming", Jason Wilson identifies the limitations of critical approaches that focus mainly on the screen and on-screen events; he calls for an expanded aesthetics of gaming that recognises the possibilities for "hybrid, cyborg players to narrate performance, play and self" and then analyses how players access this in a variety of games. In "Towards an Aesthetics of Navigation -- Spatial Organisation in the Cosmology of the Adventure Game", Bernadette Flynn takes us on a guided tour through the virtual worlds of the exploration/adventure games Myst and The Crystal Key via the historic, visual structures of art, architecture and cinema, and examines how these past forms and influences are used to establish representational context, and position, and work to orient and narrate players through the ludic space. In "Computer Games and Narrative Progression", Mark Finn examines the varying degrees of success with which theories from existing media have been applied to computer games, and analyses a variety of console games, specifically using the concepts of narrative progression and subject positioning, showing how these are both enforced by the game and negotiated in the complex relationship between game and player. Computer games are highly diverse in terms of game genre, technology, interactivity and the positioning of the player -- physically, narratively, subjectively and ideologically. While certain analyses may be applied to games in general, some of the best work gets into the particularities of gameplay, success, pleasure and expertise. The two following articles each provide an in-depth analysis of a particular game -- how it is structured, how players interact with the game, and the ideological assumptions that are inherent in the game software. "The Fabric of Virtual Reality -- Courage, Rewards and Death in an Adventure MUD" by Daniel Pargman takes us inside the world of the online adventure MUD (Multi-User Domain) in his analysis of the text-based SvenskMUD, which has been running in Sweden for the last nine years. In "Settler Stories: Representational Ideologies in Computer Strategy Gaming" Nick Caldwell examines a real-time strategy (RTS) game, The Settlers, demonstrating how ideological assumptions about culture and production may be actualised in a virtual environment. Our final two articles deal with the fascinating intersection between games and media: how games are used to create media content, and how this repositioning as media spectacle influences and indeed dictates many aspects of the game. In "Technology and Sport" Greg Levine discusses the impact of media broadcast of sporting matches on televised sport through an analysis of Australian Rules football and looks at the broader effects of technological innovation on sport. Carol Morgan examines another meeting of game and media in "Capitalistic Ideology as an 'Interpersonal Game': The Case of Survivor", an analysis of this year's highly popular game show Survivor and the economic and social ideals that are implicit in, and perpetuated by that particular game. Oh, and then there is our final, final submission that you should not miss -- like an extra game level that you haven't discovered yet: this contribution comes from a person who actually failed in his attempt to capture what he wanted to say through an article for submission to the 'game' issue. Jesper Juul, along with 3D graphics by Mads Rydahl, has created a game instead that is designed for your pleasure and for those who have waded through the articles of game theory. It's called "Game Liberation" and its composed of four levels where you as game theorist have to blast away to destroy each theory that tries to colonise games and claim they have worked out their cultural significance. So cool down with a pleasant round of Space Invader-style shoot-em-up after a hard day of facing the faux-titans of media and cultural studies. Experience the zen-zone pleasure of games firsthand without leaving your comfort zone of intellectual gymnastics. We have tried to capture here some of the surface and depth of game culture -- if we can be so bold as to propose a new area of cultural study that is consolidating as a clear and interesting domain of popular culture and intellectual inquiry. As our articles demonstrate game culture does not fit comfortably into past forms of media analysis although there are insights about games that can be teased outwards from their relationship to visual/textual media forms. We invite your comments so that the analytical/critical process initiated by this issue can continue and encourage you to extrapolate outwards through your interventions and contribution on the Media-Culture list associated with M/C. Our authors are thirsty for discussion and debate. Although the issue is not quite like an adventure game, we invite you to point and click and investigate its various threads of game culture. P. David Marshall & Sue Morris -- 'Game' Issue Editors References Marshall, P. David. "Technophobia: Videogames, Computer Hacks and Cybernetics." Media International Australia 85 (1997): 70-8. Citation reference for this article MLA style: P. David Marshall, Sue Morris. "Editorial: 'Game'." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/edit.php>. Chicago style: P. David Marshall, Sue Morris, "Editorial: 'Game'," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/edit.php> ([your date of access]). APA style: P. David Marshall, Sue Morris. (2000) Editorial: 'game'. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/edit.php> ([your date of access]).

Autumn is not only a gloriously colourful time of the year, it is a time when a plethora of children’s book related events and awards take place. Just see what is happening in the next few months:IBBY: “Silent Books: Final Destination Lampedusa” travelling exhibit In response to the international refugee crisis that began last year, the Italian arm of the International Board on Books for Young People has launched a travelling picture-book exhibit to support the first children’s library on the island of Lampedusa, Italy where many African and Middle Eastern refugees are landing. After stops in Italy, Mexico, and Austria, the exhibit is currently touring Canada. It premiered in Edmonton at the Stanley A. Milner Library in August. Next are three Vancouver locations: UBC Irving Barber Learning Centre (Oct. 1 to 23), Vancouver Public Library central branch (Oct. 8 to 18), and the Italian Cultural Centre (Oct. 10 to 22). Then the North York Central Library in Toronto from Nov. 2 to Dec 11. Recognizing Lampedusa island’s cultural diversity, the exhibit comprises exclusively wordless picture books from 23 countries, including three from Canada:“Hocus Pocus” by Sylvie Desrosiers & Rémy Simard’s (Kids Can Press), “Ben’s Big Dig” by Daniel Wakeman and Dirk van Stralen’s(Orca Book Publishers)“Ben’s Bunny Trouble” also by Wakeman and van Stralen (Orca Book Publishers). Other books are drawn from an honour list selected by a jury of experts from the 2015 Bologna Children’s Book Fair including Ajubel’s “Robinson Crusoe” (Spain), Ara Jo’s “The Rocket Boy”(Korea), and Madalena Matoso’s “Todos Fazemos Tudo” (Switzerland), among others. The full catalogue can be viewed online.TD Canadian Children’s Book Week.Next year’s TD Canadian Children’s Book Week will take place from May 7-14, 2016. Thirty Canadian children’s authors, illustrators and storytellers will be touring across Canada visiting schools, libraries, bookstores and community centres. Visit the TD Book Week site (www.bookweek.ca) to find out who will be touring in your area and the types of readings and workshops they will be giving. If your school or library is interested in hosting a Book Week visitor, you can apply online starting in mid-October.Shakespeare Selfie CBC Books will once again be running the Shakespeare Selfie writing challenge in April 2016. Shakespeare took selfies all the time but instead of a camera, he used a quill. And instead of calling them "selfies," they were called "soliloquies."The challenge: Write a modern-day soliloquy or monologue by a Shakespearean character based on a prominent news, pop culture or current affairs event from the last year (April 2015-April 2016). It can be in iambic pentameter or modern syntax with a word count from 200 to 400 words. There are two age categories: Grades 7-9 and 10-12. Details at: http://www.cbc.ca/books/2015/10/the-2016-shakespeare-selfie-writing-challenge-for-students.html Awards:The winners of this year’s Canadian Jewish Literary Awards, celebrating Jewish literature and culture in Canada, have been announced. Amongst the nine awards is one for Youth Literature which was awarded to Suri Rosen for “Playing with Matches” (ECW Press). See all the award winners here: http://www.cjlawards.ca/.The Canadian Children's Book Centre administers several awards including the TD Canadian Children’s Literature Award, the Marilyn Baillie Picture Book Award, the Monica Hughes Award for Science Fiction and Fantasy and the Norma Fleck Award for Canadian Children’s Non-Fiction. This year’s winners will be announced on November 18, 2015. http://www.bookcentre.ca/awardThe Fitzhenry Family Foundation has revealed the winners of its Lane Anderson Awards for the best Canadian science books published in the previous year. Selections are made based on a title’s pertinence to science in today’s world and the author’s ability to relate scientific issues to everyday life. Prolific Halifax kids’ science writer L.E. Carmichael was awarded the YA prize for “Fuzzy Forensics: DNA Fingerprinting Gets Wild” (Ashby-BP Publishing), about using forensic science to fight crimes against animals. Uxbridge, Ontario–based environmental journalist Stephen Leahy received the adult prize for “Your Water Footprint” (Firefly Books), which examines human usage of the valuable natural resource. http://laneandersonaward.ca/The Edmonton Public Library has named Sigmund Brouwer (author and Rock & Roll Literacy Show host) as the winner (by public vote) of Alberta Reader’s Choice Award. Sigmund’s “Thief of Glory” (WaterBrook Press) is about a young boy trying to take care of his family in the aftermath of the 1942 Japanese Imperialist invasion of the Southeast Pacific. The prize awards $10,000 to an Alberta-based author of a work of excellent fiction or narrative non-fiction. http://www.epl.ca/alberta-readers-choiceHarperCollins Canada, the Cooke Agency, and the University of British Columbia have announced the shortlist of the annual HarperCollins Publishers/UBC Prize for Best New Fiction awarded to students and alumni of UBC’s creative writing program, and offers the winner literary representation by the Cooke Agency and a publishing contract with HarperCollins Canada.“Between the Wind and Us” by Iranian-Canadian writer Nazanine Hozar, the story of a young abandoned girl set during the political unrest of 1953–1979 Iran.“Learning to Breathe” by B.C.-based Janice Lynn Mather, a young adult novel about a Caribbean teenager’s struggle to establish herself in a new city and home life.“At The Top of the Wall, Alight” by Sudbury, Ontario, author Natalie Morrill, which follows a Viennese Jew separated from his family during the Second World War. An early version of this novel was previously nominated for the award.Novelist and University of Guelph writing professor, Thomas King, and L.A.-based author, graphic novelist, and musician, Cecil Castellucci, have been named winners of this year’s Sunburst Awards for excellence in Canadian literature of the fantastic. Castellucci won in the YA category for “Tin Star” (Roaring Brook/Raincoast), the first novel in a planned series about a teenager who struggles to survive parent-less in a space station where she is the only human, and which played scene to a brutal assault that haunts her memory. King won in the adult category for his novel “The Back of the Turtle” (HarperCollins Canada), for which he also received a Copper Cylinder Award from the Sunburst Society last week. The book follows a First Nations scientist who finds himself torn after he’s sent to clean up the ecological mess his company has left on the reserve his family grew up on.Be sure to save October 28th on your calendar for the GG book awards announcement. Of course, “GG” stands for Governor-General. The short lists can be viewed here:http://ggbooks.ca/books/. There are categories in both English and French for both children’s text and illustration books.Online ResourcesPodcast: Yegs and Bacon: Episode 22: the full audio from our recent Indigenous Representation in Popular Culture panel. In the audio, you’ll be hearing from (in order of first vocal appearance) Brandon, who introduces the panelists, James Leask, Richard Van Camp, Kelly Mellings, and Patti Laboucane-Benson. Recorded on Monday, September 28th, 2015. http://variantedmonton.com/category/yegs-and-bacon/European Picture Book Collection: The EPBC was designed to help pupils to find out more about their European neighbours through reading the visual narratives of carefully chosen picture books. Here you can find out about how the project began, the theoretical papers that have been presented on European children's literature, and how the materials were initially used in schools. http://www.ncrcl.ac.uk/epbc/EN/index.aspMore next time around,Yours in stories, Gail de VosGail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.

Awards, Announcements, and News HarperCollinsCanada announced that Sandy Nichols from Calgary, AB, was the winner of the Illustrate “Alligator Pie “Competition that launched in October 2013. Nichols’ proposal was the unanimous choice of the competition judges, who selected it from more than 60 entries. Nichols has officially signed on with HarperCollinsCanada to illustrate the special anniversary board book edition of Dennis Lee’s famous poem “Alligator Pie.” You may wish to follow Amy’s Marathon (and if so moved, contribute to her fund raiser as well). Amy Mathers’ goal is to raise money for the Canadian Children’s Book Centre (CCBC) to endow a Canadian teen book award to be presented at the yearly Canadian Children’s Literature Awards gala. Amy will collect fundraising pledges for which donors will receive a charitable tax receipt. As stated on her website: "Inspired by Terry Fox’s and Rick Hansen’s Canadian journeys, Amy Mathers decided to honour her passion for reading and Canadian teen literature while working around her physical limitations through a Marathon of Books. Realising that Terry Fox could run a kilometre in six minutes during his Marathon of Hope, she figured out that she could read ten pages in the same amount of time. Thus, on her journey, ten pages will represent one kilometre travelled across Canada. Amy will be reading teen fiction books from every province and territory, exploring Canada and promoting Canadian teen authors and books by finishing a book a day for each day of 2014. She will write a review for each book she reads, and invites people to share their thoughts on the books she reads too." http://amysmarathonofbooks.ca/ Consider attending the upcoming Serendipity conference in Vancouver: Children’s Literature in a Digital Age ( Saturday, March 8 2014 at UBC). Presenters include illustrator Paul Zelinsky, Canadian authors Arthur Slade and Hadley Dyer, two high profile teacher-librarian bloggers John Schumacher (Library Journal) and Travis Jonker (School Library Journal) and author Tim Federle. “From practical advice on using literature-based apps with children to learning how authors and illustrators are using social media and electronic publishing, Serendipity 2014 is a must-attend event for educators, librarians, researchers and literature lovers looking to the future of books for young people.” http://vclr.ca/events-2013-14/serendipity-saturday-march-8-2014/ Saturday, May 3, 2014 is another day to mark on the calendar; the University of British Columbia will host “I Will Be Myself”: Identity in Children’s and Young Adult Literature, Media and Culture. This is a one-day conference showcasing graduate student research that explores, questions, and analyzes the issues surrounding identity in various elements of children’s and young adult literature. Keynote speaker is Dr. Phillip Serrato. The conference fee is very reasonable and includes refreshments and a catered lunch. http://blogs.ubc.ca/iwillbemyself/ For those of you in the Calgary area, plan on attending "When Worlds Collide 2014" from August 8-10, 2014 at the Carriage House Inn. This is a festival for readers, writers, artists and publishers of commercial and literary fiction, including genre, YA, Children’s books, and Poetry. Guests of honor include Diana Gabaldon, Jacqueline Guest, Mark Leslie, D.J. McIntosh and Brandon Sanderson. http://www.whenwordscollide.org/ The 2014 Alberta Readers’ Choice Award (ARCA) has now received 45 titles from a variety of Alberta authors, all vying for a $10,000 prize provided by the Edmonton Public Library (EPL). With this submission list finalized, EPL is now turning to its colleagues across the province for help in shaping a ten-item longlist that will be provided to our jury in February. If you are a staff member in an Alberta library—whether public, academic, government, law, school system or other—we want to hear from you. We’ve set up a poll at the following site: https://www.surveymonkey.com/s/QXZCCRZ. Please note that we are only counting ballots that have institutional e-mail addresses listed, so please make sure that you’re listing your work e-mail. This vote will remain open until end-of-day, February 5th and results will be made public on Thursday, February 13th.www.epl.ca/2014-ARCA-submissions. The ALAN Review posted the following Calls for Papers and Proposals which may be of interest for those of you working with young adult materials. Fall 2014: Stand Your Ground: Fostering Independent Thought and Action. We believe that, as educators, we sometimes need to be our own best allies as we fight to teach in ways we know to be good and right and true-and increasingly uncommon in an age of commonality. We need to know how to defend our selection of materials and our practices as we stand our ground in the face of scripts and censors, standards and accompanying tests. In this issue, we invite educators to band together and unite around our shared commitment to kids and stories, to offer our own evidence-based support for the innovative work we do in our classrooms and libraries, to celebrate the ways in which we encourage our own students to think independently and act in good conscience, even when the odds feel daunting. Please send manuscripts to: alan-review@uconn.edu . General submissions are also welcome by the deadline of March 31, 2014. The ALAN Review also notes that "Stories from the Field" invites readers to share a story about young adult literature. This section features brief vignettes (approximately 300 words) from practicing teachers and librarians who would like to share their interactions with students, parents, colleagues, and administrators around young adult literature. Please send your stories to:alan-review@uconn.edu. That is it for this time around. Last word (reminder/suggestion): Become actively involved with the National Reading Campaign, celebrating the joy of reading in all kinds of ways. “Tell us why reading matters to you, and learn what you can do for reading! Because when Canada reads, Canada grows.” http://www.nationalreadingcampaign.ca/Gail de VosGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

This issue of M/C Journal is devoted to all things cute – Internet animals and stuffed toys, cartoon characters and branded bears. In what follows our nine contributors scrutinise a diverse range of media objects, discussing everything from the economics of Grumpy Cat and the aesthetics of Furbys to Reddit’s intellectual property dramas and the ethics of kitten memes. The articles range across diverse sites, from China to Canada, and equally diverse disciplines, including cultural studies, evolutionary economics, media anthropology, film studies and socio-legal studies. But they share a common aim of tracing out the connections between degraded media forms and wider questions of culture, identity, economy and power. Our contributors tell riveting stories about these connections, inviting us to see the most familiar visual culture in a new way. We are not the first to take cute media seriously as a site of cultural politics, and as an industry in its own right. Cultural theory has a long, antagonistic relationship with the kitsch and the disposable. From the Frankfurt School’s withering critique of cultural commodification to revisionist feminist accounts that emphasise the importance of the everyday, critics have been conducting sporadic incursions into this space for the better part of a century. The rise of cultural studies, a discipline committed to analysing “the scrap of ordinary or banal existence” (Morris and Frow xviii), has naturally provided a convincing intellectual rationale for such research, and has inspired an impressive array of studies on such things as Victorian-era postcards (Milne), Disney films (Forgacs), Hallmark cards (West, Jaffe) and stock photography (Frosh). A parallel strand of literary theory considers the diverse registers of aesthetic experience that characterize cute content (Brown, Harris). Sianne Ngai has written elegantly on this topic, noting that “while the avant-garde is conventionally imagined as sharp and pointy, as hard- or cutting-edge, cute objects have no edge to speak of, usually being soft, round, and deeply associated with the infantile and the feminine” (814). Other scholars trace the historical evolution of cute aesthetics and commodities. Cultural historians have documented the emergence of consumer markets for children and how these have shaped what we think of as cute (Cross). Others have considered the history of domestic animal imagery and its symptomatic relationship with social anxieties around Darwinism, animal rights, and pet keeping (Morse and Danahay, Ritvo). And of course, Japanese popular culture – with its distinctive mobilization of cute aesthetics – has attracted its own rich literature in anthropology and area studies (Allison, Kinsella). The current issue of M/C Journal extends these lines of research while also pushing the conversation in some new directions. Specifically, we are interested in the collision between cute aesthetics, understood as a persistent strand of mass culture, and contemporary digital media. What might the existing tradition of “cute theory” mean in an Internet economy where user-generated content sites and social media have massively expanded the semiotic space of “cute” – and the commercial possibilities this entails? As the heir to a specific mode of degraded populism, the Internet cat video may be to the present what the sitcom, the paperback novel, or the Madonna video was to an earlier moment of cultural analysis. Millions of people worldwide start their days with kittens on Roombas. Global animal brands, such as Maru and Grumpy Cat, are appearing, along with new talent agencies for celebrity pets. Online portal I Can Haz Cheezburger has received millions of dollars in venture capital funding, becoming a diversified media business (and then a dotcom bubble). YouTube channels, Twitter hashtags and blog rolls form an infrastructure across which a vast amount of cute-themed user-generated content, as well as an increasing amount of commercially produced and branded material, now circulates. All this reminds us of the oft-quoted truism that the Internet is “made of kittens”, and that it’s “kittens all the way down”. Digitization of cute culture leads to some unusual tweaks in the taste hierarchies explored in the aforementioned scholarship. Cute content now functions variously as an affective transaction, a form of fandom, and as a subcultural discourse. In some corners of the Internet it is also being re-imagined as something contemporary, self-reflexive and flecked with irony. The example of 4Chan and LOLcats, a jocular, masculinist remix of the feminized genre of pet photography, is particularly striking here. How might the topic of cute look if we moving away from the old dialectics of mass culture critique vs. defense and instead foreground some of these more counter-intuitive aspects, taking seriously the enormous scale and vibrancy of the various “cute” content production systems – from children’s television to greeting cards to CuteOverload.com – and their structural integration into current media, marketing and lifestyle industries? Several articles in this issue adopt this approach, investigating the undergirding economic and regulatory structures of cute culture. Jason Potts provides a novel economic explanation for why there are so many animals on the Internet, using a little-known economic theory (the Alchian-Allen theorem) to explain the abundance of cat videos on YouTube. James Meese explores the complex copyright politics of pet images on Reddit, showing how this online community – which is the original source of much of the Internet’s animal gifs, jpegs and videos – has developed its own procedures for regulating animal image “piracy”. These articles imaginatively connect the soft stuff of cute content with the hard stuff of intellectual property and supply-and-demand dynamics. Another line of questioning investigates the political and bio-political work involved in everyday investments in cute culture. Seen from this perspective, cute is an affect that connects ground-level consumer subjectivity with various economic and political projects. Carolyn Stevens’ essay offers an absorbing analysis of the Japanese cute character Rilakkuma (“Relaxed Bear”), a wildly popular cartoon bear that is typically depicted lying on the couch and eating sweets. She explores what this representation means in the context of a stagnant Japanese economy, when the idea of idleness is taking on a new shade of meaning due to rising under-employment and precarity. Sharalyn Sanders considers a fascinating recent case of cute-powered activism in Canada, when animal rights activists used a multimedia stunt – a cat, Tuxedo Stan, running for mayor of Halifax, Canada – to highlight the unfortunate situation of stray and feral felines in the municipality. Sanders offers a rich analysis of this unusual political campaign and the moral questions it provokes. Elaine Laforteza considers another fascinating collision of the cute and the political: the case of Lil’ Bub, an American cat with a rare genetic condition that results in a perpetually kitten-like facial expression. During 2011 Lil’ Bub became an online phenomenon of the first order. Laforteza uses this event, and the controversies that brewed around it, as an entry point for a fascinating discussion of the “cute-ification” of disability. These case studies remind us once more of the political stakes of representation and viral communication, topics taken up by other contributors in their articles. Radha O’Meara’s “Do Cats Know They Rule YouTube? How Cat Videos Disguise Surveillance as Unselfconscious Play” provides a wide-ranging textual analysis of pet videos, focusing on the subtle narrative structures and viewer positioning that are so central to the pleasures of this genre. O’Meara explains how the “cute” experience is linked to the frisson of surveillance, and escape from surveillance. She also explains the aesthetic differences that distinguish online dog videos from cat videos, showing how particular ideas about animals are hardwired into the apparently spontaneous form of amateur content production. Gabriele de Seta investigates the linguistics of cute in his nuanced examination of how a new word – meng – entered popular discourse amongst Mandarin Chinese Internet users. de Seta draws our attention to the specificities of cute as a concept, and how the very notion of cuteness undergoes a series of translations and reconfigurations as it travels across cultures and contexts. As the term meng supplants existing Mandarin terms for cute such as ke’ai, debates around how the new word should be used are common. De Seta shows us how deploying these specific linguistic terms for cuteness involve a range of linguistic and aesthetic judgments. In short, what exactly is cute and in what context? Other contributors offer much-needed cultural analyses of the relationship between cute aesthetics, celebrity and user-generated culture. Catherine Caudwell looks at the once-popular Furby toy brand its treatment in online fan fiction. She notes that these forms of online creative practice offer a range of “imaginative and speculative” critiques of cuteness. Caudwell – like de Seta – reminds us that “cuteness is an unstable aesthetic that is culturally contingent and very much tied to behaviour”, an affect that can encompass friendliness, helplessness, monstrosity and strangeness. Jonathon Hutchinson’s article explores “petworking”, the phenomenon of social media-enabled celebrity pets (and pet owners). Using the famous example of Boo, a “highly networked” celebrity Pomeranian, Hutchinson offers a careful account of how cute is constructed, with intermediaries (owners and, in some cases, agents) negotiating a series of careful interactions between pet fans and the pet itself. Hutchinson argues if we wish to understand the popularity of cute content, the “strategic efforts” of these intermediaries must be taken into account. Each of our contributors has a unique story to tell about the aesthetics of commodity culture. The objects they analyse may be cute and furry, but the critical arguments offered here have very sharp teeth. We hope you enjoy the issue.Acknowledgments Thanks to Axel Bruns at M/C Journal for his support, to our hard-working peer reviewers for their insightful and valuable comments, and to the Swinburne Institute for Social Research for the small grant that made this issue possible. ReferencesAllison, Anne. “Cuteness as Japan’s Millenial Product.” Pikachu’s Global Adventure: The Rise and Fall of Pokemon. Ed. Joseph Tobin. Durham: Duke University Press, 2004. 34-48. Brown, Laura. Homeless Dogs and Melancholy Apes: Humans and Other Animals in the Modern Literary Imagination. Ithaca: Cornell University Press, 2010. Cross, Gary. The Cute and the Cool: Wondrous Innocence and Modern American Children's Culture. Oxford: Oxford University Press, 2004. Forgacs, David. "Disney Animation and the Business of Childhood." Screen 33.4 (1992): 361-374. Frosh, Paul. "Inside the Image Factory: Stock Photography and Cultural Production." Media, Culture & Society 23.5 (2001): 625-646. Harris, Daniel. Cute, Quaint, Hungry and Romantic: The Aesthetics of Consumerism. New York: Basic Books, 2000. Jaffe, Alexandra. "Packaged Sentiments: The Social Meanings of Greeting Cards." Journal of Material Culture 4.2 (1999): 115-141. Kinsella, Sharon. “Cuties in Japan” Women, Media and Consumption in Japan. Ed. Lise Skov and Brian Moeran. Honolulu: University of Hawaii Press, 1995. 220 - 54. Frow, John, and Meaghan Morris, eds. Australian Cultural Studies: A Reader. Chicago: University of Illinois Press, 1993. Milne, Esther. Letters, Postcards, Email: Technologies of Presence. New York: Routledge, 2012. Morse, Deborah and Martin Danahay, eds. Victorian Animal Dreams: Representations of Animals in Victorian Literature and Culture. Aldershot: Ashgate Publishing. 2007. Ngai, Sianne. "The Cuteness of the Avant‐Garde." Critical Inquiry 31.4 (2005): 811-847. Ritvo, Harriet. The Animal Estate: The English and Other Creatures in the Victorian Age. Cambridge: Harvard University Press, 1987. West, Emily. "When You Care Enough to Defend the Very Best: How the Greeting Card Industry Manages Cultural Criticism." Media, Culture & Society 29.2 (2007): 241-261.

While Young Adult dystopian texts commonly manipulate expectations of time and space, it is largely in a linear sense—projecting futuristic scenarios, shifting the contemporary reader into a speculative space sometimes only slightly removed from contemporary social, political, or environmental concerns (Booker 3; McDonough and Wagner 157). These concerns are projected into the future, having followed their natural trajectory and come to a dystopian present. Authors write words and worlds of warning in a postapocalyptic landscape, drawing from and confirming established dystopian tropes, and affirming the activist power of teenage protagonists in cultivating change. This article examines the intersections between dystopian Young Adult literature and Indigenous Futurisms, and the possibilities for sharing or encoding Indigenous Knowledge through the disruption or revision of genre, where the act itself become a movement of activism and survival echoed in text. Lynette James acknowledges the “ruptures” (157) Indigenous authors have made in the genre through incorporating Indigenous Knowledge into story as an embedded element – not only of narrative, but of structure. Ambelin Kwaymullina, of the Palyku people of the Pilbara region of Western Australia, exemplifies this approach in her disruption or rupture of the dystopian genre in her embodiment of Indigenous Knowledge in the Young Adult (YA) text The Interrogation of Ashala Wolf. Kwaymullina centres Indigenous Knowledge throughout the trilogy, offering a powerful revision of key tropes of the dystopian YA genre, creating a perspective that privileges Indigenous Knowledge. This is most significantly identified through her depiction of time as a non-linear concept, at once realised narratively, conceptually, and structurally in the text. The Interrogation of Ashala Wolf, the first of a trilogy of novels in “The Tribe” series, presents a futuristic post-apocalyptic world, set 300 years after the Reckoning, a cataclysmic environmental disaster. The protagonist, Ashala Wolf, is one of a number of people with supernatural abilities that are outlawed by their government and labelled Illegals. As the novel begins, Ashala is being interrogated by the villainous Neville Rose, held in a detention centre as she plots to escape, free her fellow detainees, and return to the Tribe in the Firstwood. The plot draws from historical and contemporary parallels in Australia, yet part of the text’s subversive power is that these parallels and connections are never made explicit on the page. The reader is invited to become an active participant in coding meaning by applying their own understandings of the context and connections, creating an inter-subjective dialogue between reader and text, and Indigenous and non-Indigenous knowing. This article looks to the first novel in the trilogy as the key exemplifier of the disruption of genre and knowledge through the representation of time. It is in this novel that these concepts are established and realised most clearly, being predominantly from Ashala’s perspective as a direct descendant of Indigenous Australians, with the following two novels divided between Ashala, Georgie, and Ember as polyphonic narrative focalisers. Acting as an introduction to the series, The Interrogation of Ashala Wolf presents a foundation for readers to challenge their perceptions on both genre and knowledge. Kwaymullina entangles the two, imbuing knowledge throughout narrative and structure which in turn disrupts genre. In her revisioning of narrative through genre and structural focus of time as a non-linear concept, Kwaymullina puts into practice Conrad Scott’s argument that “the potential healing of moments or processes of crisis in Indigenous dystopias is never possible without a strategic engagement with narrative itself, and even the formal aspects of the text” (73).While the series fits the conventions of the dystopian genre, it has been more commonly identified as speculative fiction, or Indigenous futurism, as Kwaymullina herself defines her work. James notes the significance of acknowledging a text as Indigenous futurism, writing, “identifying a work as Indigenous futurism rather than simply as YA dystopia asks readers, critics, and scholars to adjust their orientation in ways that may radically alter both their perception and reception of it” (153). For the purposes of this article, I acknowledge the clear value and importance of identifying the text as Indigenous futurism, but also find value in the movements that define the shift from dystopian literature to Indigenous futurism, in its engagement with and recasting of dystopian conventions in the text. In embedding Indigenous Knowledge in her worldbuilding and narrative, Kwaymullina actively rewrites dystopian expectations and tropes. These notions would be expected or normalised when grounded in Indigenous futurism, but are regarded as a subversion and revision when read in dystopian fiction. The text engages directly with the specific tropes and expectations of dystopian genre—its significance in rewriting the spaces, narratives, and structures of the genre cannot be overstated. The employment of the dystopian genre as both framework and space of revision speaks to larger debates of the value of dystopian fiction in examining socio-cultural issues over other genres such as realism. Critics argue the speculative nature of dystopian fiction that remains linked to concerns of the present and past allows audiences to envision and experience their own transformative experience, effecting political change (Kennon; Mallan; Basu, Broad, and Hintz; Sypnowich). Balaka Basu, Katherine Broad, and Carrie Hintz argue that serious issues presented in fantastic futuristic scenarios “may provide young people with an entry point into real-world problems, encouraging them to think about social and political issues in new ways, or even for the first time” (4-5). Kerry Mallan notes the “ability of dystopian fiction to open up to readers a dystopian social elsewhere serves a double function: On the one hand, it offers readers an opportunity to reflect on their current existence to compare the similarities and differences between the real and the fictional; on the other, these stories implicitly exhort young people to take responsibility for their own lives and the future of society” (16). Drawing on these metanarrative structures with the interweaving of Indigenous knowledge increases the active responsibility for the reader. It invokes Nnedi Okorafor’s labelling of Indigenous Futurisms as “the most truthful way of telling the truth” (279), creating opportunities for the Indigenous and non-Indigenous reader to engage with narratives of a real apocalypse on invaded land. The dystopian setting and expectations form a buffer between reader and text (Basu, Broad, and Hintz 4), making the narrative more accessible to the reader without shying away from the embedded trauma, while drawing on dystopian fiction’s balance of despair and optimism (Basu, Broad, and Hintz 2).The stakes and value of dystopian fiction are heightened when engaging with Indigenous narratives and knowledge; as Claire Coleman (a Noongar woman from the south coast of Western Australia) notes, Indigenous Australians live in a post-apocalyptic state as “all Aboriginal and Torres Strait Islander people alive today are the descendants of people who survived an apocalypse” (n.p.). James, quoting Uppinder Mehan, concurs, writing “these narrators are ‘survivors—or the descendants of survivors’ [162], not just of broken dystopian worlds or post-cataclysmic events but of the real historical legacies of slavery, conquest, and oppression” (157). Writing on Indigenous futurisms in dystopian and utopian fiction, Mary Morrison argues “people outside Western hegemonic power structures would likely be well-placed to transform the utopian imagination, to decolonize it” (11), acknowledging the significance in the intersection of genre and lived experience by author and character.Kwaymullina expands on this, noting that for Indigenous authors the tropes of speculative fiction are familiar lived experiences. She writes thatmany of the ideas that populate speculative-fiction books – notions of time travel, astral projection, speaking the languages of animals or trees – are part of Indigenous cultures. One of the aspects of my own novels that is regularly interpreted as being pure fantasy, that of an ancient creation spirit who sung the world into being, is for me simply part of my reality. (“Edges” 27)Kwaymullina affirms Coleman and James in her approach, writing “Indigenous people lived through the end of the world, but we did not end. We survived by holding on to our cultures, our kin, and our sense of what was right in a world gone terribly wrong” (“Edges” 29). The Tribe series demonstrates survivance, with Kwaymullina’s approach forming possibilities for intersubjective dialogues across genre. The concept is reinforced through Ashala’s repeated, joyful cries of hope throughout the text: “I live! We live! We survive!” (197, 200, 279, 391).Sara K. Day, Miranda A. Green-Barteet, and Amy L. Montz note dystopian literature considers possible futures from the outlook and failures of the present (8), arguing “the label ‘dystopia’ typically applies to works that simultaneously imagine futures and consider the present, essentially occupying a liminal space between these times” (Day, Green-Barteet, and Montz 9). This sense of liminality is heightened with the engagement of time from an Indigenous perspective; as Scott writes, “Indigenous dystopian fiction presents not only the crisis of the future but the ongoing crisis of the present time, and that which is still resonant from the past” (73). In “Respect, Relationships, Renewal: Aboriginal Perspectives on the Worlds of Tomorrow”, Kwaymullina notes that linear time can “become a tool of ideology, with colonial characterisations of Indigenous peoples as being of an earlier (less ‘advanced’) time through the use of terms such as ‘primitive’, ‘prehistoric’ and ‘prehistory’” (“Respect” 126).In shifting to a dystopian world where Australia as a colonised or invaded country is no longer recognised, but Country is still alive and read by those who live on it, Kwaymullina recasts the use of linear time as a tool of ideology to reaffirm Coleman’s argument that Indigenous Australians already exist in a post-apocalyptic state. She draws from the past and present and casts it into the future, while simultaneously recognising that all three are linked and circular—events are repeating and being relived. Kwaymullina depicts numerous parallels between the dystopian world and a post-invasion Australia, populating her world with references to detention centres; othering and distinct labelling of a vilified minority deemed a threat or aberrant to the majority colonising community; the name and title of the series’ central villain Chief Administrator Neville Rose in a clear reference to A.O. Neville, WA Chief Protector of Aborigines.At the outset, the government uses labels to separate and denigrate the Other—individuals with Abilities are called Illegals, distinct from Citizens, although they can apply for Exemptions if their Ability is deemed useful and passive. The terminology of Exemption draws deliberate connections to the Exemption Certificate Indigenous Australians could apply for from the Aborigines Protection (Amendment) Act 1943. The text consistently operates in modes of survivance, as Ashala and the Tribe redefine their world through a distinctly Indigenous perspective (Murphy 179). Ashala gains power through the tool used to suppress her by claiming and embracing this status, identifying her friends and herself as the Tribe and choosing a forest name emblematic of the totems that each Tribe member has a particular connection to (e.g. Georgie Spider, Ember Crow, Ashala Wolf). Continual parallels are drawn to Indigenous Knowledge: Ashala’s Ability is Sleepwalking, where she enters a state in dreaming where she can alter reality, a liminal space that suggests connections to the Dreamtime. While the land is no longer called or recognised as Australia, and the tectonic plates have shifted land mass, it remains Country, as recognised in Ashala’s relationship with the Firstwood. The Balance, the inherent harmony between all life, animate and inanimate, is a clear reflection of an Indigenous understanding, positioning it as the mainstream ideology.Kwaymullina weaves Indigenous knowledge through the text as demonstrated through narrative, key thematic concepts, and structure, disrupting the tropes of dystopian fiction in a manner that subverts genre and presents new possibilities for both reader and writer while presenting a shift to Indigenous Futurisms. As an organic by-product of this ideological framework, regressive or gendered tropes are re-envisioned as feminist and ecologically centred, ultimately conveying a sense of hope and survivance. Key tropes of YA dystopian fiction include a female teenager protagonist oppressed by her government, often initially unknowingly so embedded is she in the system, potentially profiting from it in some way. She is often introduced to the reader in a setting that the character initially reads as utopian, but is revealed to be dystopian and authoritarian in its construction. As identified by Ann M.M. Childs, a common dynamic in the genre that reinforces gender roles in heterosexual relationships see the protagonist introduced to the concept of rebellion or dissent through a male love interest already embedded in a resistance movement, at the cost of losing or betraying a female friend (188). Childs notes the protagonist may be resistant to the idea of rebellion, but after falling for the love interest, grows to genuinely care for the cause. Technology is depicted as advanced, alien or dehumanising, and both belongs to and represents the repressive society the protagonist seeks to escape and change. The natural environment is depicted in binary opposition, with characters finding resilience, freedom, and personal agency in a return to nature (McDonough and Wagner 157). Society will have attempted to restrict, destroy, or otherwise mine the natural world, but this attempt for control will inevitably fail or backfire. Initially the environment is displayed as a potentially antagonistic element, wild and dangerous; however, after the character escapes their confining world, it becomes an ally. In her employment of a perspective framed by Indigenous Knowledge, Kwaymullina subverts each of these established tropes, offering an alternative reading of conventions often embedded in the genre. Ashala is introduced as already entrenched in a rebellion that she is both leader and pivotal figure of. Inverting the dynamic outlined by Childs, she is love interest Connor’s motivation for rejecting the government and joining the Tribe: “You are the reason I came here, Ashala Wolf” (Kwaymullina 263). Kwaymullina dismisses Childs’ concern over the removal of female friendship in favour of heterosexual romance by centering Ashala’s relationships with Georgie and Ember as fundamental to Ashala’s well-being, where sistahood is a key paradigm of hope: “I carry my friends with me” (Kwaymullina 39). For Ashala and the Tribe, nature as exemplified through the Firstwood is Country, not only sanctuary but an animate being that Ashala speaks with, asks permission to live within, and offers protection and apology for the harm down to it by humans in the past. The privileging of environment, and reading all animate or inanimate beings as living, extends to challenging the nature/technology dichotomy. Even the static or sterile environments of the detention centres are recognised for their connection to nature in their construction from recycled materials: “Nothing ever truly ends, only transforms” (Kwaymullina 141). In “Learning to Read the Signs: Law in an Indigenous Reality”, Ambelin Kwaymullina and Blaze Kwaymullina write thatsince everything must interconnect and interrelate to survive, if a pattern is fixed in time, it loses its ability to dynamically connect with other patterns. To be temporally fixed is therefore to be isolated; frozen. In an Indigenous worldview, it is, in fact, an impossibility – for that which cannot move, cannot interact, and that which cannot interact is inanimate. And there is nothing inanimate in country. (200)This can be read as representative of Kwaymullina’s rupture or revision of dystopian tropes and genre. When tropes are read as static or absolute, they run the risk of freezing or limiting the knowledge encoded in these stories. By integrating Indigenous Knowledge, new patterns can emerge and interact, extending to the reader’s own understanding of genre, time, and epistemology. Kwaymullina’s revisioning of dystopian tropes through an embedded and celebrated Indigenous perspective culminates in the successful thematic, narrative, and structural expression of time as a non-linear concept. Kwaymullina and Kwaymullina acknowledge the division between the reductionist and linear perspective of time through a Western worldview in comparison to the non-linear perception from that of an Indigenous Australian worldview. They acknowledge that their expression of time is not to be read as representative of all Indigenous Australians’ perspective of time, but one informed by their own Country and upbringing. Kwaymullina and Kwaymullina write,in an Aboriginal worldview, time—to the extent that it exists at all—is neither linear nor absolute. There are patterns and systems of energy that create and transform, from the ageing process of the human body to the growth and decay of the broader universe. But these processes are not ‘measured’ or even framed in a strictly temporal sense, and certainly not in a linear sense. (199)This is enacted through the narrative structure of The Interrogation of Ashala Wolf. The text is set across four days, yet spans years, shifting through narrative in a non-linear manner and reflecting the Indigenous understanding of time as a circular, evolving concept. These four days act as the containers for the text, as Kwaymullina distinguishes the departure from linear time for the uninitiated reader by including headings and subheadings in chapter titles, marked as “Day One”, “Day Two”, “Day Three”, and “Day Four”, before the final section, “The Escape”. Within these containers, themselves marked linearly, narrative ebbs and flows across time and space, taking Ashala away from the Detention Centre to different moments from her past, spanning years. These ‘flashbacks’ are not presented in a linear fashion; the text revisits and repeats key moments of Ashala’s life out of sequence, providing an immediate focus on these seemingly past moments. This is key in shaping the reader’s understanding of “the patterns and systems of energy that create and transform” (Kwaymullina and Kwaymullina 199)—as Ashala revisits or rediscovers memory through time, perceptions of character, motive, relationships, and key plot points are changed and transformed. Meaning is formed through this relationship of narrative and time in a manner not possible through a linear structure. Over the course of the novel, Ashala and the reader find she’s chosen to give herself false memories to protect the Tribe and complete a master plan to defeat Neville Rose. As such, as the novel begins the reader, aligned with Ashala as narrative focaliser, is positioned to read key points through a flawed perspective. Connor is presented as an enemy and betrayer of the Tribe, while Ashala denies her feelings towards him. The reader is aligned with Ashala’s perspective—she has already fallen in love with Connor, but neither she nor the reader knows it due to the displacement of knowledge through narrative structure and memory. This also speaks to identity formation in the text—Ashala is herself, and not herself until the novel reaches full circle, and she and the reader have experienced multiple points of time. As Ember explains, “it’s not about losing small pieces of information. This stuff shapes your entire understanding of reality” (Kwaymullina 167). If the reader revisits the text with this knowledge, they find further value in exploring the non-linear, circular narrative, finding subtext in characters’ interactions and decisions. The disruption in the non-linear narrative structure is twofold: to reflect the representation of time in an Indigenous epistemology, further rewriting the genre; and to create an intersubjective dialogue. As such, the narrative structure creates a space of invitation to the reader. Rather than positioning Ashala as embedded and aware of her status as a custodian of Indigenous knowledge, the text places her as ingrained in Indigenous epistemology, but unaware of it. In this way, the text effectively invites the reader in, mirroring Ashala’s journey of (re)discovery. The non-Indigenous reader enters the text alongside Ashala, with Indigenous knowledge embedded subtly throughout the text echoed in Kwaymullina’s engagement with dystopian tropes, and integrated Indigenous epistemology. By the time Ashala meets the Serpent, her Grandfather, and has her ancestry explained to her, the reader has already been immersed in Ashala’s own way of thinking, an inherently Indigenous one; for instance, throughout the text, she acknowledges the value and interconnectedness of all beings, human and non-human, animate and inanimate. The text leaves space for the reader to be active in their own construction of meaning and knowledge by never using the terms “Indigenous” or “Aboriginal”, themselves colonial inventions employed to control and label. Instead, the reader is encouraged to engage in the metatextual intersubjective dialogue introduced by Kwaymullina to acknowledge Indigenous epistemology—but by way of her approach, Kwaymullina further encourages the reader to “forget Aborigines” (Healy 219) by centring knowledge in its own right, rather than in direct opposition to Western epistemologies. That is, Kwaymullina disrupts Western perspectives framing of Indigenous knowledge as “other”, altering expectations of the norm as non-Indigenous. As Kwaymullina writes, to conceive of time in a non-linear way is at once a great gift and a great responsibility. The responsibility is that our individual actions matter powerfully, radiating out across relationships and affecting all that might be thought of in a linear sense as past, present and future. But the gift is that the passage of linear time has never moved us so far that we cannot take meaningful action to heal the wounds of colonialism. (“Respect” 126-127)In The Interrogation of Ashala Wolf, Kwaymullina realises this gift and responsibility. By framing structural, conceptual, and narrative time through an Indigenous epistemology, Kwaymullina privileges Indigenous Knowledge and effectively subverts and revises the genre through the rupture of dystopian conventions. Possibilities of hope and healing emerge in the text’s construction of time and genre as spaces of growth and change are emphasised; like Ashala, the reader finds themselves at the end and beginning of the world at once.ReferencesBasu, Balaka, Katherine R. Broad, and Carrie Hintz, eds. Contemporary Dystopian Fiction for Young Adults: Brave New Teenagers. New York: Routledge, 2013. Booker, M. Keith. Dystopian Literature: A Theory and Research Guide. Westport, CT: Greenwood P, 1994. Bradford, Clare, et al. New World Orders in Children’s Literature: Utopian Transformations. New York: Palgrave Macmillan, 2011. Childs, Ann M.M. “The Incompatibility of Female Friendships and Rebellion.” Female Rebellion in Young Adult Dystopian Fiction. Eds. Sara K. Day et al. 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