Each story can stand alone and each tale has its own flavour and quality. One tells of a community whose fight escalates from dogs snarling over a bone to become a bloodthirsty clan battle. At the beginning, it is almost ludicrous but the consequences are dire. Only great wisdom can bring the much-needed understanding and reconciliation. Others are gentler; in one, a Sultan is trying to decide which of his three sons should be his heir, as is the way of the folktale. Each son reveals his innermost self, and how wisely or otherwise he would rule, simply by choosing his favourite animal. Unsure whether the choice of cow, dog or camel would secure a kingdom? Then read The Next Sultan: A Story from Yemen; it may well surprise you.

However, whatever the charm or the challenge of individual stories, this collection is well worth reading and considering as a whole. Mehrdokht Amini has created gorgeous illustrations and rich endpapers. Her cover cleverly brings elements of the stories together into a whole. Readers will enjoy identifying the different stories but it is also a fitting way to show the essential unity of the book. The anthology’s stated aim is to celebrate peace and kindness. These stories joined together have a powerful voice showing that true wisdom often lies in piercing through façade. By hiding in a disguise, the characters find a truth that is itself hidden. Fortunes are reversed when true characters are revealed. There is a strong sense of right and justice beating at the heart of these stories, a belief that kindness and hospitality and generosity matter. Thoughtfulness and compassion are the highest of virtues. To be ungrateful, whether to a ruler or to a lion, is to be selfish and cruel.

The pacey and dramatic stories are perfect for reading aloud. The Woodcutter and the Lion is perhaps the best of all for a classroom rendition. Children unaccustomed to the diverse conventions of folktales will benefit from hearing them read and discussing the messages and themes of each one. There is death and destruction in some of the stories. However, the stylised illustrations and the formality of folktale create a certain distance. This means that these tales provide a way in which children can grasp some deeply challenging themes in an age-appropriate way. They can think about the cycle of mounting aggression and resolve to throw away pride and anger. That is surely a resolution worth striving for. The stories show characters learning about themselves; as the exposed villains creep away in shame and remorse they teach the reader vital lessons about self-awareness.

Children will love this book; it is a thing of beauty. The illustrations intrigue and demand explanations. They will draw new readers into these ancient tales and ensure that the stories continue to speak fresh wisdom into a world that needs kindness.

The post Stories of Peace and Kindness for a Better World first appeared on Just Imagine.

But first, the collection opens with an introduction to traditional life in Nigeria, setting a scene of children playing games and doing chores, and the importance of music, play, and, of course, storytelling. This background knowledge is helpful for children and adults alike as they are shown the value of retelling stories orally, a tradition that may well be unfamiliar to many.

The four stories are around 10-12 pages each, easy enough to read in a short reading session with a whole class or smaller groups, and each follow the same format. The stories are told with engaging language – simple enough for a Year 2 class to follow, and engaging enough for older children to follow with interest. At the end of each story, Ijapa asks us what the moral might be (which is answered over the page), which is then followed by a couple of follow-up questions and a glossary of unfamiliar words.

I enjoyed reading this collection, and particularly appreciate how Nigerian and West African customs are brought into the classroom, through the use of food, setting and animals. The stories would serve a range of purposes in the classroom, stimulating discussion, to learn about storytelling, or just to enjoy!

The post Tales of Ijapa the Tortoise first appeared on Just Imagine.

Quinn researched her book among the ancient manuscripts of the Irish National Folklore Collection and, as a result, The Faerie Isle is a guide to the supernatural beings of Irish folklore including  the sidthe – pronounced ‘Shee’ – (or the good people, or faerie folk), giants and each uisce – pronounced ‘argh ishca’ – (shape shifting water horses).

Each of the sixteen sections is dedicated to a different supernatural being, with double spread explanation of their origins, attributes and the contexts in which they are likely to appear, followed by a two-page story from Irish folklore that focuses on the (often malign) influence or work of that being. Given the nature of the supernatural beings that are the subject of The Faerie Isle, it is perhaps unsurprising that the stories tend towards the dark, and Flynn’s atmospheric illustrations, rich in shadow and figures emerging from the background, emphasises the mysterious nature of the faerie world that they evoke.

The vocabulary is in places complex with some terms (such as ‘luminous’) listed in a glossary at the end of the book. This is, however, not always consistent, with the meanings of terms such as ‘cut turf’ and ‘sovereignty’ left for the reader to either know, deduce or look-up. One question that the language use prompts is for what reading age the book is intended: I was surprised to find the word ‘liminal’ in the main body, but with no explanation or contextual cues to help the reader understand its meaning. In addition, I wonder the reason for not including a pronunciation guide for the Gaelic names of the faerie folk.

I would recommend The Faerie Isle: Tales and Tradition of Ireland’s Forgotten Folklore as a book to be shared with an Upper Key Stage 2 class. Quinn’s collection certainly opens-up some lesser-known aspects of Irish folklore (for the English reader), but the nature of some of the tales, the darkness of the illustrations, and the complexity of some of the language choices means that the teacher may have to use their knowledge of the emotional maturity of their pupils when choosing which stories to share.

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Watts often illustrates fairy tales or folk tales and Varenka has the timeless feel of an orally told story passed down the generations. It’s a simple, unadorned text. Varenka is a widow who lives alone, quite self-sufficiently, in a house among the great forests of Russia. But it’s a time of war and like the other innocent, defenceless citizens, Varenka is fearful – but instead of fleeing as the others do, she remains in her house. After all, as winter comes, who else will care for the animals and the children and the travellers who pass through? But she prays to God to ask him to build a wall around her house so the soldiers won’t see her.

As time passes, the war intensifies; a number of interlopers come and seek sanctuary with Varenka – but still no wall appears. But when the soldiers finally arrive, they can’t see Varenka’s house because it’s totally enclosed by snow. Her prayer has been answered after all. And the frightened occupants of the house can at last feel safe.

Watts’ naïve illustration style captures the tone and spirit of the book. She uses darkness to great effect but the splashes of bright colour are arresting and appealing. This is a moving, beautiful book that will be sure to offer readers opportunities to discuss difficult but pertinent themes.

The post Varenka first appeared on Just Imagine.