Super Sikh #1 – Eileen Kaur Alden, Supreet Singh Manchanda, Amit Tayal

Super Sikh CoverFull Title: Super Sikh #1 Takeoff and Landing
First Published: 26th April, 2017
Genre: Spy / Comic
Contributors: Eileen Kaur Alden (creator, adaptation); Supreet Singh Manchanda (creator); Amit Tayal (artist), Pradeep Sherawat (colourist), Adrian Reynolds (adaptation)
Available: Amazon.com | Amazon UK

Deep Singh is a U.N. Special Agent, but all the work is tiring him out, so he tries to take a holiday.

The first issue is an introduction to the character and central plot, where Deep goes on holiday to the USA and it doesn’t entirely work out. I saw this discussed as a superhero title, but it has more of an action spy vibe. Deep doesn’t have superhuman abilities and I didn’t get a feel that anyone else did either. He does have exceptional combat skills and some of the gadgets are more speculative.

My favourite thing about it was the family relationships. His family arrange for him to go away, and their concerns for him are clear. He has a cousin, Preeti, who works for the U.N. in research. When it comes to showing Sikhs, there’s a clear understanding of people approaching things in different ways. Deep’s older relatives wear traditional clothing. Deep’s clothing is more modern, but he has a turban and kara. Preeti has uncovered hair and no kara, outside of wearing one for a demonstration. I liked the attention to detail in how different characters expressed themselves and their faith.

Deep rarely has thoughts written out and he mainly speaks to tell jokes. This makes it difficult to really know who he is and what he thinks about what’s going on. There’s a lot of James Bond inspiration in the story, and it’d be fair to say that doesn’t focus on character much either, but that was something I didn’t like much in James Bond. I do like to get to know characters, and I don’t feel I knew much more about Deep than I did when I started reading.

The art is generally solid. It’s a realistic comic style and Deep’s facial expressions are good. I did feel some of the background characters weren’t as well rendered, particularly the black ones. I guess the artist has less experience of drawing people of some races, which may explain why there are so few background black characters. There are also some disability issues, as the art fell into using facial scarring and an eyepatch to denote someone as being evil.

There are issues when it comes to characters who aren’t Sikhs. Muslims are either terrorists or victims to be saved (when they’re women or girls). Mexicans are terrorists. Fat people are jokes. People who do bad things are crazy. There’s an attempt to subvert stereotypes when it comes to the Sikh characters, but stereotypes of anyone else are treated as the truth.

I can understand how it might have ended up here, as anyone who covers their hair or is non-white can be mistaken for being a Muslim. This means getting targeted by anti-Islamic discrimination. I get stopped by customs for a lot of random searches because they assume I’m Middle Eastern (and therefore, that I must be a Muslim). But it’s important to realise the primary issue isn’t that I’m being mistaken for a Muslim. It’s that there is prejudice against Muslims, and by extension, anyone assumed to be one. Stating that I can’t be a terrorist because I’m not a Muslim is suggesting the prejudice is grounded in fact, and that it would have been fair if they hadn’t been wrong about my identity. Like I say, I can understand why people have this reaction, but that doesn’t make it a good response. It shifts around who gets hurt rather than acknowledging the core problem. The comic very much has this type of reaction. It doesn’t tackle the assumptions that certain groups of people are terrorists and criminals. It simply distances Deep from being part of those groups.

Some of my comments could be worked out as the series continues, such as getting to know Deep a bit more. I’m rather more hesitant on the other stuff. It looks like crazy Islamic terrorist is going to be the flavour of main villain and I don’t think that’s going to be handled in a subversive way.

[A copy of this book was received from the publisher for review purposes]

I Don’t Like Reading – Lisabeth Emlyn Clark

First Published: 21st August, 2017
Genre: Children’s Contemporary Fiction / Picture Book
Available: Forthcoming

Harry doesn’t like reading, because he finds it difficult. It turns out he’s dyslexic.

I wanted to read this picture book as I’m dyslexic, so I was interested in how it presented that. This is the new edition of the book. The old one has a boy called Lloyd, so they’re easy to tell apart.

There were things that I related to in the book, like the worries about reading out loud, and the difficulty of trying to write things down. I also benefit from tinted backgrounds for reading (yellow/tan is my preference). But some issues meant it didn’t really feel like the story was for dyslexic children. The pacing is one of the issues. Someone struggling to read needs something to hook them very quickly, which doesn’t happen here. The build is slow and is likely to frustrate a child who finds reading difficult. Seeing multiple layers of teachers and specialists may be realistic, but it would have benefited the pacing to go straight to Harry meeting the final one.

The layout also reinforces my feel about the intended audience. Some pages are fine, but some have weird writing where all the fonts are mixed up. The words sometimes overlay pictures and appear in odd places on the page. It looks like an attempt to show non-dyslexic people what reading might be like for dyslexic people, which is not helpful for a dyslexic reader.

Some wording choices gave this the feel of something written by an educational specialist aimed at non-dyslexic parents of dyslexic children. One is referring to dyslexia as having a dyslexic profile, which sounds very clinical. Another was Harry’s comment that he was told “it just means I have to try harder”. It’s not unusual for non-dyslexic adults to tell dyslexic children that they’re lazy and aren’t trying hard enough. I cringed when I hit that part.

There’s a repeated statement about it being okay because dyslexic people can be clever and successful. Harry is said to be a very clever boy. This falls into the idea that disability is great as long as it’s offset by being exceptional. This is not a comfort for the dyslexic child who is not exceptional.

I also would have preferred an ending that showed things improving for Harry, but not looking like a complete solution where he can read with no problems. I was around fourteen before I finally got the hang of spelling. I was in my mid-twenties when I figured out organisation and study skills (a lesser discussed aspect of dyslexia, as it doesn’t impact young children). It was my late twenties before I reached the point of being able to write at a professional level. Today, I still need regular reading breaks and I still hit writing I just can’t process. There does need to be a balance between encouraging dyslexic children that they can learn things and minimising their problems. It’s a long road, and even when we’re great at reading and writing, it doesn’t mean we’re not dyslexic anymore.

This book tries very hard. It’s clear research went into things like how words could look to a dyslexic person and reading strategies. It shows finding things that work for Harry, rather than stating there is one method that works for everyone. But it feels too much like it’s a book aimed at adults who think it’ll be educational, rather than one for children. The layout choices are a dyslexic nightmare, but may also be a struggle for other children who are still learning to read.

[A copy of this book was received from the publisher for review purposes]

Can You Find My Robot’s Arm? – Chihiro Takeuchi

Robot CoverFirst Published: 4th July, 2017
Genre: Children’s Science Fiction / Picture Book
Available: Amazon.com | Amazon UK

Two robots search for a missing arm.

There’s nothing unexpected about the plot. The robots look for the missing arm, as well as trying out other possible alternative arms. It’s a story based on repeated actions (going to a location and trying a new arm), where the fun is seeing where they go and what they try next.

It’s set in a world populated by robots. The narrator searching for their robot’s arm is also a robot. It’s unclear if “my robot” means literally owning the robot or a family member. However, the pictures suggest it was intended in a family context. They live in a family home, search together, and one doesn’t act as though working for the other.

Some of the animals also appear to be robots or cyborgs, as they have gears inside. Others have bones and appear to be biological animals. I don’t know why the robots need a sweet shop, and other food items, but maybe some of the robots are powered by biofuel or they’re also cyborgs. These are things I would have asked about when I was five, so the biofuel/cyborg answers might be useful when reading this to a science-minded child.

The art is paper cutouts with dark shapes on a light background. Some of these scenes are very detailed, so there are a lot of little things to find. I liked the variety of places searched, including a factory and aquarium. This also means the possible alternative arms are all sorts of things, many of them very silly. The arm’s fate is shown, though not mentioned in the text.

Most of the language is easy, so it would be ideal as a book for learners to try reading themselves. It would also be a good book for reading aloud, though the story is likely to be a little too simple for older picture book readers.

[A copy of this book was received from the publisher for review purposes]

When We Were Alone – David A. Robertson (author), Julie Flett (illustrator)

When We Were Alone CoverFirst Published: 1st March, 2017
Genre: Children’s Contemporary Fiction / Picture Book
Available: Amazon.com | Amazon UK

A young girl helps her kókom (grandmother) in the garden. She asks her kókom questions, and the answers go back to the time when her kókom was sent away to school.

This book deals with the history of residential schools for Native American children. The focus is on the attempts to stop the children from practising their culture. They weren’t allowed to have long hair or speak Cree at the school. Everything they were not allowed to do was to make them like everyone else (in other words, like white people), but the children fought back in small ways by doing the forbidden things when they were alone.

The story of the school is told through the young girl asking questions, such as asking why her kókom has long hair, and being told about the school cutting the children’s hair. This makes it a generally positive book, as her kókom survived and is able to live as she wants. However, there are also hints that it’s not all in the past. The girl doesn’t face being taken away from her family and community, but she lives in a world where most people in the media will be white, and someone like her kókom is seen as different. There’s that unspoken implication to the questions of the pressure still being there, because those questions wouldn’t be raised if the girl’s family was considered to be like everybody else.

The pictures look like collages, with additional painting and drawing for detail and texture. It creates a bold and colourful feel, which works well with the theme of the girl’s kókom dressing brightly and not being afraid to show her culture. My favourite page is the flying bird with the Cree text around it (the words repeated from the main story), as it feels like a celebration. Despite all of the attempts, the girl and her kókom are free to speak as they want to speak.

I enjoyed this book. It’s a quiet and subtle handling of the topic. The art and story are a good match. It is perhaps a little too subtle for readers who don’t already know the history of the residential schools. For example, the text doesn’t make it clear who made the children go to the school. This could be something to discuss with readers after finishing the book.

[A copy of this book was received from the publisher for review purposes]

The Ladybird Book of the Zombie Apocalypse – Jason Hazeley, Joel Morris

Zombie Apocalypse CoverSeries: Ladybirds for Grown-Ups
First Published: 20th October, 2016
Genre: Humour / Fictional Non-Fiction
Available: Amazon UK

The old Ladybird books covered a wide range of subjects for children. They were small books with hard covers, with the general layout of a page of text opposite a full page picture. People grew up with these books, which led to the adult realisation that there were some unintentionally funny things about them. Ladybird decided to get in on the action, by producing their own satirical versions for adults. This one tells grown-ups all about the zombie apocalypse.

My reference book for this review was Life of the Honey-bee, one of the genuine old Ladybird books for children. Funnily enough, one of the bee pictures is included in The Zombie Apocalypse. The pictures all look like they’re from the original books, but with new text to put them into an apocalyptic context.

The text is in the classic cheerful tone of the books. Some pages are more general, but many focus on a character and what they say or do. The language is simple, with a few short paragraphs on each page. Ladybird books did vary in how they were written (my bee book is a little more wordy and doesn’t focus on characters), but this is a reasonable reproduction of how the books were put together.

I liked the book’s opening statement that there are still interesting things to do after the zombie apocalypse. Also, that the police may be very busy. There’s a polite optimism about the end of times, as well as educational discussions about the nature of zombies. My favourite potential zombie cause was: “It could even be a fungal infection like athlete’s foot, but one that explodes mushrooms through your face and makes you eat everybody.”

There are some other nice touches when it comes to making this look like one of the old books. There were little series within the series, which were given a number. The bee book is part of Series 651, which had four books. This information was listed on the back. The zombie book has copied this, putting itself in Series 999 with five other pretend titles. Though if they really published The Martian Invasion or Giant Underground Worms, I’d be there.

Inclusion in the art is the same as the old Ladybird books. That means it’s mostly nice middle class white families. Everyone is dressed very neatly and they’re usually smiling (or looking horrified in an over-the-top way, which was not originally because the images were intended to be people thinking about zombies). There’s usually a father, mother, one son and one daughter. Boys often have dark hair and the girls are blonde. There is one black family and also some construction workers on one page, because that was as far as diversity went in the Ladybird era. Everyone else fits into a stereotype of the perfect British family, in the sort of way where you might wonder when someone was about to get murdered in the village. Ladybird books and cozy mysteries are really the only place this family exists.

It’s also notable that the few pictures rebranded as zombies, where there are people who are either shot or attackers, have darker skin. One shows tipi frames in the background and another looks like the zombies are wearing buckskin clothing. I’d assume they were originally intended as scenes of Native Americans, which is pretty messed up considering their skin is darkened in a way that looks distinctly unnatural. They’re not brown, but more of a greyish-black. They really do look more like zombies.

As someone who grew up reading these books, I appreciated the humour. I also think there’s something here to appeal to those who’ve never read a Ladybird book, as the satire works as a general poke at the way children’s books (and the apocalypse) are presented. However, it does make me reflect on how Ladybird books were very much products of their time in a bad way. The perfect stereotype family contrasted with everyone else was a common theme of the books. The racism in the imagery went largely without comment when I was younger. This is something that works as satire for adults, but it’s something I hope we leave behind for children.