Hometown

Hometown is a riveting, gorgeous, and moving book. It is about a girl who appears human and lives on a world populated with with otherworldly beings and creatures. Her mother takes her out collecting, and her father and she build animals and machines. She also has five siblings:

Although all of the scenes and beings seem alien to me, to her they are commonplace and the only people, things, and places she has known. One day, a strange thing falls from the sky that makes her question everything she knows, and it wants to take her back to the place where she is from. Thus, she has to make a potentially difficult choice.

I do not want to spoil things about the plot, but I found so much of this book emotionally compelling. She feels such joy in her hometown and the questions she poses are profound and human. I found myself concerned, charmed, frightened, and tickled multiple times over the course of reading this book, and when I read it with my seven-year-old, she was rapt as well. And to think that I have not even mentioned the sumptuous artwork, done with a combination of colored pencils and watercolors. The result is a surreal phantasmagoria that is unique though calls to my mind effects reminiscent of artists like Frida Kahlo, H.R. Giger, Chris Van Allsburg, and Jim Woodring. It also has so many subtle details, some of which are funny or cute and others secret plot points. Go read this book!

Hometown was written and drawn by Shaun Tan, an artist and filmmaker who is best known for The Arrival. He has drawn multiple books that have been published internationally and can be read by people of all ages. He has also won an Academy Award for the animated short film The Lost Thing, the prestigious Astrid Lindgren Memorial Award in Sweden, and the Kate Greenaway Medal in the UK. He speaks about his work on Hometown in this interview.

This book has been very well reviewed. In a starred review, Publishers Weekly called it "a luminous and ethereal work about home and identity." April Spisak wrote, "There are so many extravagantly surreal moments within the immersive illustrations that it may take a few repeat readings for the profound messages to take root; it is to Tan's enormous credit that each time through will yield new details, both artistic and emotional." Peter Dabbene called it "a masterful graphic novel."

Hometown was published by Levine Querido, and they offer a preview and more about it here. 

Thank you to Tracy van Straaten for the review copy!

Parachute Kids

Parachute Kids is a compelling and moving graphic novel about immigration. It is set in the early 1980s, but I feel that the issues and experiences are still sadly relevant in contemporary times. The narrative follows a family from Taiwan who are visiting California except there is a huge twist: the parents have decided to leave their children to have a better life in the USA until they can return.

Most of the narrative then follows Feng-Li, the younger sister as she tries to fit in at school and life. She feels isolated and out of touch, and learning English is a huge hurdle. Also, she gets teased by other kids for being out of touch with US pop culture and also not having enough money to get some of the things she feels would help her fit in. However, this book is not just about her plight but also features two other prominent plots with her older siblings. Her older brother Ke-Gang has different issues than her fitting in, as he falls into a group of other immigrant children, but they often get into trouble outside of school. Her older sister Jia-Xi perhaps struggles the most, as she has to maintain finances as well as shoulder many of the parental roles. All of them fall into peril when she is victimized by a phishing call.

What I loved about this book was how it told individual tales in a way that reflects universal struggles that immigrants face. Even 40 years later, many of the prejudices, pitfalls, and obstacles still exist for people seeking to find better living conditions for themselves and their children. Both of my parents are immigrants so I am especially sensitive to immigration tales, and this one is told in beautiful and heart-rending fashion.

Although this book is fictional, it is based on the experiences of its author Betty C. Tang, herself a parachute kid from Taiwan who still lives in the USA. She has worked for various Hollywood animation studios including Disney TV and Dreamworks Animation. She has been working on her second graphic novel, a sequel called Outsider Kids, which is due to be published in April.

Parachute Kids won an Excellence in Graphic Literature Award, was included on the National Book Award Longlist, and was named an Asian/Pacific American Award Honor Book. Consequently, it has been extremely well reviewed. In a starred entry, Kirkus Reviews summed it up, "Emotionally moving and beautifully executed." In another starred entry, this one in The Horn Book, Jerry Dear wrote, "Tang weaves themes of family, racial stereotyping, cultural adaptation, sacrifice, peer pressure, sexuality, bullying, and survival into a poignant and triumphant story of perseverance and resilience, presenting a remarkably honest depiction of an Asian American immigrant experience." Esther Keller opined, "The endearing artwork, with color that pops and wide-eyed characters that mimic manga-style artwork, will easily find its audience."

Parachute Kids was published by Scholastic, and they provide more information about it here.

Tales of a Seventh-Grade Lizard Boy

 

I caught a lot of teasing about my name throughout my schooling, and I cannot imagine what it would have been if I had been called Booger Lizk’t. On top of that name, Booger is a lizard person from Elberon, an underground civilization that faced a natural disaster that drove his family to the surface. So he would stand out pretty starkly in a typical US middle school. Luckily for him, his people can shape their skin pretty much as they please, which makes it possible for them to pass as human. However, Booger also has to fit in socially, which is why he goes by the name of Tommy Tomkins while in Eagle Valley. But he is still having a very difficult time, especially when so many of his classmates watch a popular TV show about villainous alien lizard invaders who want to invade Earth (sort of like V).

From the informative back matter of the book, I learned that many of these feelings and situations are based on the author's Vietnamese heritage, and much of the book reflects commonplace immigrant experiences. This aspect gets highlighted by Tommy's friendship with Dung Tran, a Vietnamese immigrant and kindred spirit. The two gravitate toward each other and take solace in each other's company. Like Dung, Tommy has to figure out how to find friends, speak the language, eat strange food, deal with bullies, and navigate academics on top of passing as a human being, so they are both under a lot of pressure and stress. 

What I liked about this book was how human and organic it was. The plot takes all sorts of twists and turns, and this is not a simple tale of a kid learning to fit in or find his people. Tommy is not perfect, and he makes mistakes, pulls some ill-advised pranks, and hurts some of the feelings of his few friends. I found a lot to relate to as well as laugh and marvel at.

This book was created by Jonathan Hill, who also wrote and drew a fantastic apocalyptic graphic novel Odessa. He also drew Americus, a book I reviewed some years ago. He speaks about his work on Tales of the Seventh-Grade Lizard Boy in this interview.

The reviews I have read about this book have been positive. Kirkus Reviews summed it up as "engaging and thought-provoking." Publishers Weekly wrote, "Employing a bright and energetic palette, uncomplicated paneling, and a cast comprising varying skin tones and body types, Hill keenly portrays the effects this othering has on Tommy and Dung, and how connection, mutual support, and earnest understanding can bridge even significant differences." April Spisak opined, "Vivid colors, wry humor, and playful ignoring of traditional panel structure lighten the heaviest moments, firmly focusing this story on working toward better things."

Tales of a Seventh-Grade Lizard Boy was published by Walker Books US, and they offer a preview and more info about it here.

Piece By Piece: The Story of Nisrin's Hijab

Piece By Piece: The Story of Nisrin's Hijab is a complex, harrowing, and compelling graphic novel that tackles some difficult subject matter, namely prejudice and violence directed toward Muslims in the United States. This book is set in 2002 in Portland, Oregon, and it stars Nisrin, a young woman who embraces Islam and traditional garb, despite her parents' views. They still recall the violence in Bangladesh becoming independent from Pakistan in 1971, and their scars color their views differently.

Her wearing a head scarf marks Nisrin as an outsider in school and her community, and one day she and an African-American friend find themselves targeted by a crazed individual spewing anti-Muslim hate. Both girls are beaten badly, and face long recoveries. Nisrin in particular suffers from instances of PTSD, and she finds it difficult to deal with her new surroundings in high school, where she finds herself bullied by some students and shunned by some teachers. She finds it hard to make friends, though eventually she does hit it off with a girl named Veronica.

Reading this book is bracing, because it depicts serious subject matter in a frank manner. However, I appreciated the experience of reading it, because it is engrossing, and I feel that I learned much more about Bangladeshi culture and history. Also, the vivid painted imagery is powerful and atmospheric, drawing the reader into this work in direct and impactful fashion. Its imagery and narrative are both haunting and enlightening, showing the horrors that victims of hate crimes suffer as well as how some immigrants experience life in the US.

This book's creator Priya Huq is a Bangladeshi artist, and this is her debut graphic novel. She publishes work with Radiator Comics, and she speaks more about her life and how it affected the making of this book in this interview.

All the reviews I have read about this book have sung its praises. Kirkus Reviews concluded, "Remarkable storytelling presents a multilayered struggle around identity and power in an anti-Muslim climate." Amanda MacGregor wrote, "This is a very emotional and powerful read, with the assault and resulting trauma coloring much of the story." Mahasin A. Aleem called it "A solid addition to collections of all types and a welcome exploration of what it means to navigate the complexities of Muslim identity in the United States."

Piece By Piece: The Story of Nisrin's Hijab was published by Amulet Books, and they offer more information about it here.

Our Stories Carried Us Here

Our Stories Carried Us is a graphic anthology of first-person narratives told by immigrants to the US. They came from a variety of countries, including Somalia, Myanmar, Jamaica, Guatemala, Chad, Kazakhstan, Pakistan, Mexico, Vietnam, and Liberia. The reasons why they came are varied, and include the desire for freedom, safety, family, as well as economic and educational opportunities. Each tale is pretty journalistic in presentation, so they tell the facts in a fairly chronological way that is both accessible and moving. I learned a lot from reading this book, about global politics, immigration policy, and the lengths some people have to go through to protect themselves and their families. 

Illustration by Aziz Kamal, story by sunshine gao

Each story is illustrated by different artists, so they feature very different tones, styles, and coloring. They are all unique and interesting, and I love this book walking the walk and providing space to showcase a range of nationalities in terms of story and art. 

Illustration by Ana Hinojosa, story by Craig Moodie

As the child of immigrant parents, I found this book enlightening as to how people learn to deal with American culture. As an educator, I saw many opportunities for critical engagement with social issues. As a US citizen, I saw lots of information here that would enlighten others as to who wants to come to this country and why. I highly recommend this book.

This graphic anthology came from the work of Green Card Voices, a nonprofit organization the focuses on immigration and social justice issues and is based in Minnesota. To my knowledge none of the writers or artists have published graphic novels before. The book was edited by Tea Rozman Clark, Julie Vang, and Tom Kaczynski, and it features a cover by multiple award winner Nate Powell as well as a foreward by another multiple honor winner, Thi Bui.

I was not able to locate many reviews of this book, but the ones I have found have been positive. Brett at Graphic Policy said, "I'd love to see more of this," and offered potential avenues to expand on this project. It currently has a 4.58 (out of 5) star rating at Goodreads.

Our Stories Carried Us Here was published by Green Card Voices, and they offer a preview and more information about it here. The initial printing of this book was aided by a Kickstarter.

They Called Us Enemy

Looking over my past few entries, I have been grossly over-using the word "fun." Well, I am breaking the streak, because, not to downplay how good this book is, there's no chance of it appearing today. At a time when the US government is actively engaged in arresting and detaining refugees and immigrants, They Called Us Enemy is a strong reminder that such an atrocity is not unique to our times. After the bombing of Pearl Harbor, FDR signed Executive Order 9066, which allowed the military to define certain regions as military zones and take actions to relocate questionable parties. This order meant that the military could round up all people of Japanese ancestry, whether they be US citizens are not, and regard them as potential spies or enemy sympathizers. That was the context for George Takei's family, who were Japanese-Americans living in California.

They were speedily allowed to pack a limited amount of belongings one night and then were put on a series of trains that brought them to some difficult, Spartan camps across the US. Some of them were put in places originally meant to house livestock. There, they had to learn to make do, cognizant that they were being treated as enemies by a country that they had accepted and worked hard to belong to. Although George and his brother were children who somewhat treated the whole thing as a weird adventure, his parents had to shoulder tough burdens of being disrespected and deemed inhuman.

What makes this book exceptional is how it pairs a strong narrative with artwork that is incredibly expressive and energetic. Between the postures and facial expressions, it is impossible not to feel something for the people depicted here. Their lives turned upside-down, their government betraying them, and them being treated like animals are all palpable experiences for the reader. Although this subject matter is difficult, I am glad that it is still being memorialized and brought back to light here. Especially now.

This book was a collaboration between writers George Takei, Justin Eisinger, and Steven Scott, and artist Harmony Becker. Takei is best known for his role as Sulu on Star Trek and is also a highly visible activist for civil rights. Eisinger is an Editorial Director for IDW, and I think this is his first comics writing gig. Scott also goes by the name Scott Duvall and is a blogger and comics writer with a number of credits for Archie and Arcana. This book also seems to be Becker's graphic novel debut but she also has created mini-comics and webcomics like Himawari Share. Takei speaks more in this interview about the creation of this graphic novel.

This book has been very well received and has gotten a number of starred reviews. Etelka Lehoczky wrote that "despite the grimness of its subject matter, They Called Us Enemy is a lively, vibrant book." Kirkus Reviews summed up,"A powerful reminder of a history that is all too timely today." Esther Keller wrote, "The black and white artwork is vibrant despite the lack of color," and added that the book "will add to a growing collection of nonfiction graphic stories that will help today’s younger generation understand our history and why we must say #neveragain."

They Called Us Enemy was published by Top Shelf, and they offer a preview and much more here.

Cannabis: The Illegalization of Weed in America

First off, I meant to have this post up for April 20, but life has been hectic lately, and as you might tell, I have not been posting as regularly as accustomed. Hopefully, this is the book to get me back on track. I am a big fan of Box Brown's work, and in the past his stuff has appeared on my "Best of" year-end lists. This book is unique though in that I am not really that familiar with the topic and it's not something, like professional wrestling, video games, or comedy, that I have been a fan of. So this book was more of a learning platform for me. Cannabis: The Illegalization of Weed in America covers a lot of ground and includes lots of different insights. It shows, among other things,

the science behind getting high on marijuana

an origin myth from the Hindu tradition

a history of false assumptions and spurious science.

And I gleaned much here. For instance, I had no idea who Harry J. Anslinger was before I read this book, let alone that the man almost single-handed created the "war on drugs" as we know it. It is horrifying to see how much he relied on false claims, racism, and prejudice against immigrants to push public policies that have led to decades of abuse, misinformation, and incarceration. A large portion of the book focuses on his work, and he definitely comes off as a villain, which seems appropriate and sadly familiar to some contemporary voices I hear.

There is a lot going on in this work, and it is well researched, with a huge bibliography at the end. I think it may have benefited from some chapter headings to help steer the reader, but overall I feel it does its job well. It contains all sorts of disparate information and weaves it together into a portrayal of the modern take on marijuana use. It also makes a strong thesis for why current policies and views are misguided and wrong. I feel it is a strong piece of comics rhetoric and history, and I highly recommend it.

This book's creator Box Brown has left a big footprint in comics already, founding the indie imprint Retrofit Comics. He has also created a cavalcade of comics, mini-comics, and graphic novels, including his biographys of Andre the Giant and Andy Kaufman as well as his history of Tetris. He speaks about his work on Cannabis in this interview as well as this NPR interview.

The reviews I have read of this book have ranged from good to lukewarm. Jonathan O'Neal wrote, "Brown’s book presents an impassioned case for continuing the discussion over this very complicated issue, and with “Cannabis: The Illegalization of Weed in America,” Brown becomes an important voice in that conversation." Henry Chamberlain called it "a most remarkable book in how it packs together a disparate clump of facts and myths and makes sense of it all." Kirkus Reviews summed up, "Not as engaging as the author’s bio of Andre the Giant, but his uncluttered drawings suit his straightforward argument."

Cannabis was published by First Second, and they offer a preview and much more here.

Illegal

As I've written in a few reviews over the past year, immigration has been a hot button topic in the US, and an area of great shame and pain. Illegal is a book that shows the faces of those who seek asylum in other countries, the ways that they are taken advantage of by traffickers, the perils they face on their journeys, and the great lengths they go to in order to find better lives.

The narrative is told in very dramatic and revelatory fashion, with one thread in the present and one thread in a flashback. This structure is used to great dramatic effect, following a young boy from Ghana named Ebo as he follows his brother Kwame on a quest to get to Europe. Both boys are orphaned and live with their drunk uncle. Kwame is older and decides to leave and find their older sister Sisi who has left for Europe years before. They have not heard from her at all and have no idea what has happened to her, but still Kwame feels he will be successful and could then send for his little brother.

Ebo is headstrong however and sets off in hot pursuit of Kwame. The brothers meet up coincidentally, and together they strive to get to Italy. Along they way they have to survive the desert, opportunistic criminals, overcrowded boats, and the open sea.

I do not want to spoil what happens in this book, but much of it is grim. It seems to me that the creators here went to great lengths to make the stories and circumstances as realistic as possible. There are many political and economic dimensions to the tale, and most impressively also much heart and human drama. I really felt for the characters and their plights, and I feel any reader would be greatly moved by this story. It is an excellent book that informs about important current events and also sheds insight into life and humanity.

The trio that made this book have also worked on four previous volumes, graphic novel adaptations of the Artemis Fowl series. Eoin Colfer and Andrew Donkin are the writers and the art is provided by Giovanni Rigano. Colfer is a novelist who is best known for the Fowl series, Donkin a children's book author/ninja assassin, and Rigano is an artist who has worked on a good number of previous graphic novel adaptations. This interview with Colfer sheds more light on the book and its reception in Europe, where it has garnered much praise and some accolades.

All of the reviews I have read about it have been very positive. Kirkus Reviews summed up, "Action-filled and engaging but considerate of both topic and audience, Ebo’s story effectively paints a picture of a child refugee’s struggle in a world crisscrossed by hostile borders." Sarah Donaldson called it "a deeply affecting and thought-provoking." In their starred review, Publishers Weekly described it as "achingly poignant."

Illegal was published in the US by Sourcebooks. They offer a teaching discussion guide for it here, and there is a video preview available here. This book is pitched as a children's book, but it does not sugarcoat harsh and horrible conditions, so I'd recommend previewing it before deciding to share it with younger readers.

Voces Sin Fronteras: Our Stories, Our Truth

Issues about immigration and its impact on families have been prominent in the current US political scene, with a gross amount of injustice and racism cast toward many people seeking asylum. This book is an excellent entry into this political conversation, with sixteen true accounts from the lives of young people who have come over from Latin American countries to live and find a better life in the United States. These adolescents are the Latino Youth Leadership Council of the Washington DC-based Latin American Youth Center, founded in 1968.

Although the authors here might not be the most adept cartoonists, they share their stories well. The sixteen tales in this book are powerful, showing great personal sacrifices, determination, and the drive to succeed. They show the lengths some families go through to find better lives, including many hardships, poverty, and absences that cause grief and pain. And given all of the obstacles they face, I was struck reading this book by just how positive these young leaders are. In times of great adversity, they strive to find light and hope.

One feature that many of these stories contain is a struggle learning English or getting by in new contexts. The tales honor both languages via a bilingual presentation, so a reader can read in either English or Spanish. Also accompanying each comic narrative is a two page text piece explaining more about the author and why they chose to focus on the story they told. This book is an excellent resource for exploring immigrant narratives and also personal journaling.

I was not able to locate many reviews of this book, but the ones I found were very positive. Children's Book Council called it a "timely, ambitious, and a much-needed addition to current national discussions about who we are as a country." Emilio Solórzano was impressed with the reality of the stories and gave it "a perfect 5 out of 5." Frederick Luis Aldama wrote that the stories "stand as powerful testaments to the resilient power of today’s Latinx youth to grow, create, and transform in spite of it all."

Voces Sin Fronteras was published by Shout Mouse Press, and they offer more information about the book here.

You & A Bike & A Road

You & A Bike & A Road is a deceptively simple looking book that actually delves into multiple, complex areas of life. It is a travelogue of a bike trip planned from Arizona to Georgia. It is a portrait of a person dealing with the demands of life and dealing with depression. It is a commentary on the current state of immigration along the southern border of the US. It is an existential exploration of what it means to be a person on a journey. And it is also a portrayal of the interesting, generous, and memorable people she meets on her trip.

It is chock full of beautifully rendered, human moments. It is occasionally raw, profane, candid, and funny. It features many keen observations and commentary on ordinary matters that affect all of our lives. And it is about the truths that we tell others and the ones that we protect and keep to ourselves. Just check out this exchange:

Perhaps the most impressive aspect of the book is its economy of linework and storytelling. The art is that best kind of scribbling, what seems like rough pencil lines that are actually very evocative and full of energy and import. And the story is full of small moments and observations that can easily be applied to larger life topics and situations. I rate this book  alongside some of the best ones I have read in recent times, like those by Jules Feiffer and Pénélope Bagieu. Even with a similarity in terms of the amount of craft and artistry put into it, this book is still in a category of its own.

Of late, I have been on a tear of books by this book's creator, Eleanor Davis. She has racked up quite a few accolades, including the Russ Manning Most Promising Newcomer Award, and has created a number of books that can appeal to adults (How to Be Happy), younger readers (Stinky), and adolescents (The Secret Science Alliance). I have read a couple of very good interviews about her work on this book, and you can read them here and here.

All of the reviews I have read have been full of accolades. Sarah Miller wrote, "Even though You & A Bike & A Road is made up of moments that seem self-contained as we read them, Davis’s work—intentionally or unintentionally—comes together to form an overarching narrative that raises questions about identity as much as it comforts through its depiction of overcoming challenges." Oliver Sava praised her "phenomenal work capturing the sprawl of the Southern states, starting with the deserts of Arizona and New Mexico before moving into more fertile territory." Ally Russell called it "a remarkable achievement for both the cartoonist and the amateur cyclist behind it." And like Nicole Rudick wrote,  I am also "in awe of Eleanor Davis’s drawings."

You & A Bike & A Road was published by Koyama Press, and they have a preview and more about it here.

Blue

I am closing out Top Shelf month with an e-book I bought from Comixology for my Kindle Fire. Yes, they sell digital, too!

The facile way to describe this book would be to call it Stephen King's "The Body" meets District 9 set in Australia (I almost wrote Alien Nation, but that just means I am OLD). But Blue is much more than that. Part immigrant allegory and coming of age parable, the story follows a group of surly adolescents as they skip school, go surfing, swear, and argue amongst themselves. Apparently, their small town has gone to pot because of the influx of blue aliens who have moved in and overtaken neighborhoods, have their own unique kinds of food, and taken all the available work. Or maybe the local economy just dried up and the blue folk are convenient scapegoats. One day, these kids decide they are going for a trek down the railroad tracks to see the body of an unfortunate alien who was in the way as a train rushed by. All the while, issues of racism, classism, and national pride ring through the plot and characters.

This deceptively complex book disarms the reader with a very cartoonish style, and writer/artist Pat Grant demonstrations some great storytelling skills. It is an outstanding debut work, one that smacks of technical and artistic expertise. That said, this Melbourne-based comics creator is a relative newcomer and has worked on a variety of small projects listed here. He also is interested in surf culture and has an excellent essay about the history of Australian surfing and underground comix as his influences in the back pages of Blue.

Reviews I have read online have been very complimentary about this freshman effort. Andy Khouri called it "an uncommonly sophisticated look at prejudice and localism." Bill Sherman wrote, "Sharply unsentimental and often darkly funny, it makes a powerful debut for artist, writer and, zinemaker Grant—a must read for anyone invested in following literary comics." Slate's Dan Kois called it "thoughful and complicated" and added that it "really stuck with me after I read it."

A preview and much more is available here from the publisher.

The whole book is also available online here, though I think it is still well worth its purchase prices. Support an author who is starting out!

Also, if I have not a great job selling you on the book - or if you are already onboard - you should check out Pat Grant's SHAMELESS PUBLICITY DOCUMENT!

The Arrival

The Arrival is ironically our last entry for this Not Quite A Graphic Novel Month.

A New York Times Best Illustrated Book, it is a wordless look into a fantasy world of strange creatures, fantastic cityscapes, and people trying to find their places. The story follows a father as he leaves his young family. It seems that dragons are overtaking their homeland and they need to establish a home in a new land. After a train ride, he finds himself in a place where he has troubles communicating, he has to find work, and he has to figure out common tasks like finding food, cooking, and paying bills. Along the way he meets others who help, or sometimes complicate, his task to reunite with his wife and daughter.

Shaun Tan is an Australian author and animator. He has created a number of picture books, including The Red Tree, The Rabbits, and Tales from Outer Suburbia. He also directed the Oscar winning animated short, The Lost Thing. Tan does an excellent job with the drawings in The Arrival, made to resemble old photographs in a scrapbook. There is an immediate recognition of emotions, relationships, and activities, even though the scenery and imagery are often imagined and surreal. It offers an accessible, magnificent reading experience. He speaks in more depth about his work on the book in this interview with the School Library Journal (SLJ).


The list of blurb writers on the back of this book includes a who's who of comics creators and artists, including Brian Selznick, Art Spiegelman, Marjane Satrapi, David Small, and Craig Thompson. It has been a very well reviewed book. Kirkus Reviews called it "an unashamed paean to the immigrant’s spirit, tenacity and guts, perfectly crafted for maximum effect." Gene Yang described it as "mesmerizing" and wrote that "reading The Arrival feels like paging through a family treasure newly discovered up in the attic." Elizabeth Bird summed up saying it was "the best book published in America in 2007."


A number of preview images are available in this detailed write-up by SLJ's Elizabeth Bird. More information about the book, including a book talk and interview with the author, are available from the book's publisher, Scholastic.

Why it is not quite a graphic novel: This book has everything a graphic novel should have but words. It is more an illustrated book than a graphic novel. That said, it is impressive how well Tan strings together images and panels, interspersing personal, emotional details with double page spreads that show the scope and grandeur of this world.