
Upon hearing the news that her family will be moving to Toronto, a little girl claims and names the details of her life in a one-road community of eighteen trailers, homes to the workers, like the girl's father, on a now-completed dam on the North Saskatchewan river. (Clothing and trailer design suggest that the dam is the E. B. Campbell Dam, completed in 1963.) The narrative is intensely first-personal, as the never-named little girl describes the things and places that matter most to her: "I count the trailers on the other side of the road. There are ten. A fox lives in a cage behind one of them. I know the fox's damp fur smell before I see him." While the text is deliberate and declarative, the illustrations, while respecting all the details important to the girl, are extravagantly expressionistic, the cool colors of the trailers and trees and sky making the honey color of the fox, or the spring-green of a frog, all the richer. Round, comforting shapes are everywhere, from the curve of the purple-black road to the old-fashioned tube TV set upon a tree stump for a community's Sunday night entertainment. In the end, the girl determines to take to Toronto all that her senses have given her, a firm grounding for a new life. Don't miss the endpapers, a map of the central provinces, embellished with a child's priorities. ROGER SUTTON
Gr 2—5—Moving from rural Saskatchewan to the city holds a lot of opportunity for a girl and her brother. The young protagonist experiences her share of apprehension as well, "This is where I live. I don't know Toronto. I know here." "Here" is first described as a single, trailer-lined road that runs from the dam that her father is working on to the school. Readers are then treated to the flora and fauna of the forest, hills, and creeks that the girl will miss. There's the man who delivers the groceries, her teacher, and her classmates, too. Miss Hendrickson suggests that she draw a picture encompassing all that she'd like to remember. She does and after sharing it with the class, she folds it away for safekeeping. "I will fold up the howl of the wolf and the smell of the fox in his cage...and the feel of my heart beating fast as I swooped over my road in a five-seater airplane. I will fold my drawing up small, put it safe in my pocket and I will take my road with me. To Toronto." The simple, straightforward text is spot-on in capturing the child's sensibilities and feelings. James's vibrant acrylic and India ink on panel artwork brings the girl's world to life, with its starkness, beauty, and haunting appeal. The stylized paintings at times have a surreal quality and are almost dreamlike in their composition. A regional look at a universal slice of childhood.—Luann Toth, School Library Journal
A little girl's family is moving from its one-road community in the wilderness to Toronto. The narrative is intensely first-personal, as the girl describes the things and places that matter most to her. While the text is deliberate and declarative, the illustrations are extravagantly expressionistic; round, comforting shapes are everywhere, from the curve of the purple-black road to the communal old-fashioned TV.
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